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Vertigo (1958)

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A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.

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(screenplay), (screenplay) (as Samuel Taylor) | 2 more credits »
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1,429 ( 12)
Top Rated Movies #72 | Nominated for 2 Oscars. Another 8 wins & 4 nominations. See more awards »

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Cast

Complete credited cast:
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Scottie's Doctor
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Konstantin Shayne ...
Pop Leibel
...
Car Owner Mistaken for Madeleine
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Storyline

John "Scottie" Ferguson is a retired San Francisco police detective who suffers from acrophobia and Madeleine is the lady who leads him to high places. A wealthy shipbuilder who is an acquaintance from college days approaches Scottie and asks him to follow his beautiful wife, Madeleine. He fears she is going insane, maybe even contemplating suicide, he believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine. Written by filmfactsman

Plot Summary | Plot Synopsis

Taglines:

A tall story about a pushover [Video] See more »


Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

21 July 1958 (Brazil)  »

Also Known As:

'Vertigo'  »

Box Office

Budget:

$2,479,000 (estimated)

Opening Weekend:

$1,486,818 (USA) (22 November 1996)

Gross:

$3,200,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (1996 restored)

Sound Mix:

(Westrex Recording System)| (70 mm prints)

Color:

(Technicolor)

Aspect Ratio:

1.50 : 1
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Did You Know?

Trivia

The original source material for the film was the French novel "D'entre Les Morts" and the action was set in Paris. Alfred Hitchcock changed the setting to San Francisco, a city well known for its unique topography and hilly landscape, in order to add a further torment to Scottie's life and emphasize the debilitating nature of his vertigo. See more »

Goofs

When Madeleine is in Scottie's apartment after he rescued her from the bay, he offers her two cushions to sit on in front of the fireplace. When he picks up the cushions, they are green. In the next shot, when the cushions are shown hitting the floor, they are gold. When the cushions are shown lying in front of the fireplace after Madeleine has fled, they are green again. See more »

Quotes

[first lines]
Officer on rooftop: Give me your hand. Give me your hand.
See more »

Crazy Credits

There is no end title on this film. See more »


Soundtracks

Symphony No. 34 in C K. 338, 2nd Movement, Andante di Molto (piu tosto allegretto)
(uncredited)
Composed by Wolfgang Amadeus Mozart
Played as 'cue 10B' on a record in the psychiatric ward
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Frequently Asked Questions

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User Reviews

 
A Standard Rave
10 July 2002 | by (Sydney, Australia) – See all my reviews

Starting in 1958, Alfred Hitchcock directed a remarkable sequence of films in a row, each of them a classic; Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). Never has a director made four such genuinely great movies in such a short space of time, either before or since.

The pick of this high standard bunch is undoubtedly Vertigo. From the opening titles, with their circling spiral imagery, to the dramatic final scene this is a movie that takes you to a different time and place. Specifically, to a San Francisco of the past; full of deserted parks, discrete rooming houses, oddly menacing art galleries and florists where the customers enter and exit through the back door. Through this landscape wanders Jimmy Stewart, towering in the lead roll as a former detective recently retired after a bungled arrest leaves him with chronic vertigo. Plot machinations lead him to the alluring Kim Novak (one of Hitchcock's famous "blondes"), the young wife of a friend who has started behaving rather oddly.

"To reveal more," as Leonard Maltin wrote, "would be unthinkable."

While the performances of Novak and Stewart are memorable, the movie is really set apart by the intelligent script and the stylistic touches provided by the director. Hitchcock is in his very best form creating hypnotic scenes and a general sense of unease and dread in even the most banal of situations. He is aided in this by the wonderful score of Bernard Herrman. A particular favourite of mine is the extended (largely silent) segment where Stewart follows Novak for the first time. Nothing much happens, but the atmosphere of these scenes is enough to keep you on the edge of your seat!

One of the all-time greats. They definitely don't make them like this anymore.


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