Vertigo (1958)

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

Director:

Alfred Hitchcock

Writers:

Alec Coppel (screenplay), Samuel A. Taylor (screenplay),

Stars:

James Stewart, Kim Novak, Barbara Bel Geddes

Top 250 #52 | Nominated for 2 Oscars. Another 6 wins & 3 nominations.

Cast

Complete credited cast:
James Stewart	...	John 'Scottie' Ferguson
Kim Novak	...	Madeleine Elster / Judy Barton
Barbara Bel Geddes	...	Midge Wood
Tom Helmore	...	Gavin Elster
Henry Jones	...	Coroner
Raymond Bailey	...	Scottie's Doctor
Ellen Corby	...	Manager of McKittrick Hotel
Konstantin Shayne	...	Pop Leibel
Lee Patrick	...	Car Owner Mistaken for Madeleine

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, because she believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine.

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Plot Keywords:

acrophobia | police | vertigo | police detective | hair | 

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Taglines:

A Mystery Revised... A Master Remembered! (1996 Restored Film Premiere)

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Genres:

Mystery | Romance | Thriller

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Certificate:

PG

Details

Country:

USA

Language:

English

Release Date:

21 July 1958 (Brazil)

Also Known As:

'Vertigo'

Filming Locations:

1000 Mason Street, North Beach, San Francisco, California, USA

Box Office

Budget:

$2,479,000 (estimated)

Opening Weekend:

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

Gross:

$1,718,928 (USA) (20 December 1996)

Company Credits

Production Co:

Paramount Pictures, Alfred J. Hitchcock Productions

Technical Specs

Runtime:

128 min 129 min (1996 restored)

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

1.50 : 1

Did You Know?

Trivia

Alfred Hitchcock had originally wanted to use his now-famous Vertigo zoom in Rebecca, but due to lack of technology at that time he couldn't do it. The technique was inspired by a time when Hitchcock had fainted during a party.

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Goofs

When Scottie and Madeleine are on the coast, she's wearing a white coat with a gauzy black scarf. The scarf is arranged differently in different shots and sometimes is missing entirely.

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Quotes

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

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Crazy Credits

The opening Paramount logo is in black and white while the rest of the film, including the closing Paramount logo, is in Technicolor.

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Connections

Referenced in Will & Grace: Pilot (1998)

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Soundtracks

"Sardis #4"
(uncredited)
(Forever Female), from Skylark (Poochie)
Composed by Victor Young
Orchestrated by Gus Levene
Played as 'cue 12D' by the orchestra while Scottie and Judy are dancing

User Reviews

You're not lost. Mother's here.

John "Scottie" Ferguson is a San Francisco cop who decides to quit the service after his acrophobia results in him being unable to save the life of a colleague. Whilst taking it easy he gets a call from an old school friend, Gavin Elster, asking him if he wouldn't mind doing a little bit of detective work for him. The job is simply to tail his wife because she's obsessed with an ancestress who committed suicide, and the wife, Madeline, is showing signs of herself being suicidal. Ferguson tails her diligently and as the tail progresses, Ferguson himself starts to become ever obsessed about the demur blonde Madeline. As the story twists and turns, Ferguson's obsession will have far reaching consequences for both parties.........

Vertigo is Alfred Hitchcock's most discussed, dissected and critically reappraised film, based on a novel by Pierre Boileau called D'Entre Les Morts, {also writer of Diabolique}, Vertigo was not well liked on its release and unable to be viewed for some time due to copyright, the film was restored from a destroyed negative into a glorious 70mm print, and now in all its glory it can be seen as one of the greatest films to have ever been made. What is most striking about Vertigo, outside of Hitchcock baring his innermost that is, is that its plot on the surface is simplicity personified, but delving deeper, and repeat viewings are a necessity, its apparent that Vertigo is a chilling force of cinema, taking great delight in gnawing away at your perceptions, perhaps even your own capabilities as a human being.

Very much a film of two great halves, Vertigo first seems intent on being an almost ghost story like mystery. Once the prologue has introduced us to Ferguson's fear of heights, we then enter an almost dream like sequence of events as Ferguson tails the troubled Madeline, the suggestion of reincarnation bleakly leading to death hangs heavy as Hitchcock pulls his atmospheric strings. Then the film shifts into dark territory as obsessions and nods to Dante's Inferno take control, Hitchcock, as we have come to learn over the years, lays out his soul for us the audience to partake in, the uneasy traits sitting side by side with fascination of the story. All of which is leading us to a spine tingling finale that is as hauntingly memorable as it is shocking, the end to our own dizzying journey that Alfred and his team have taken us on.

Technically the film is magnificent, the opening credits from Saul Bass brilliantly prep us for what is about to unfold, while Bernard Herrman's score as good as anything he ever did, unnerving one minute, swirlingly romantic the next, a truly incredible score. Hitchcock himself is firing from the top draw, introducing us to the brilliant zoom-forward-track-back camera technique to induce the feeling of Vertigo itself, with that merely a component of two hours of gorgeous texture lined with disturbing little peccadilloes. The two leads are arguably doing their respective career best work, James Stewart as Scottie Ferguson goes real deep to play it out with an edgy believability that decries his aw-shucks trademark of years since past. Kim Novak as Madeline is perhaps the quintessential Hitchcock blonde, perfect with the duality aspects of the role and playing off Stewart's ever creepy descent with seamlessly adroit skill. It however should be noted that Hitchcock and his loyal subjects had to work hard to get Novak right for the role, but the result proves that Novak had ability that sadly wasn't harnessed on too many other occasions.

Vertigo is a film that I myself wasn't too taken with on my first viewing, it's only during revisits that the piece has come to grab me by the soul and refuse to let go, it not only holds up on revisits, it also gets better with each subsequent viewing, it is simply a film that demands to be seen as many times as possible, not only one of the greatest American films ever made, one of the greatest films ever made...period, so invest your soul in it, just the way that Hitchcock himself so clearly did. 10/10