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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.

Director:

Writers:

(screenplay), (screenplay) (as Samuel Taylor) | 2 more credits »
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Popularity
1,682 ( 385)
Top Rated Movies #74 | Nominated for 2 Oscars. Another 8 wins & 4 nominations. See more awards »
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Cast

Complete credited cast:
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...
...
...
...
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Scottie's Doctor
...
Manager of McKittrick Hotel
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 Hitchcock thriller. You should see it from the beginning! 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'  »

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Box Office

Budget:

$2,479,000 (estimated)

Opening Weekend USA:

$10,783, 30 October 1983, Limited Release

Gross USA:

$3,200,000

Cumulative Worldwide Gross:

$25,000,000, 31 January 1998
See more on IMDbPro »

Company Credits

Show more 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

Even though another trivia reference says 2nd unit cameraman Irmin Roberts invented the "contra-zoom", the effect is oddly similar and nearly identical to a zoom and vertigo shot seen in the 1954 movie "Hobson's Choice" where a drunk Henry Hobson is seen falling down a shaft into the basement of Freddy Beenstocks shop. Vertigo was released some 4 years later and other special effects elements in the movie oddly mirror what was seen in "Hobson's Choice." See more »

Goofs

The DeSoto that Scottie drives clearly has no rear view mirror during the close-up and interior shots, yet it has a rear view mirror as he's getting back into the car after watching Madeleine Elster purchase the flower bouquet and as he exits the car on the passenger side to follow her into the Mission Dolores cathedral. See more »

Quotes

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

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

Connections

Referenced in Stephanie (2013) See more »

Soundtracks

Sardis #4
(uncredited)
(Forever Female), from Skylark (1941) (Poochie)
Composed by Victor Young
Orchestrated by Gus Levene
Played as 'cue 12D' by the orchestra while Scottie and Judy are dancing
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A Standard Rave

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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