The Story
James Stewart and Kim Novak in “Vertigo”
John “Scottie” Ferguson (James Stewart) is a former San Francisco police detective who was forced to retire after his fear of heights led to the death of a fellow officer. A former classmate, shipping magnate Gavin Elster (Tom Helmore), asks the ex-policeman to play detective and shadow his wife, Madeleine (Kim Novak), who has begun behaving strangely and self-destructively. Reluctantly, Scottie takes the job, tracking his client’s wife on her walks and car rides throughout San Francisco. These rides lead her to various locations that are all connected in some way with her great-grandmother, Carlotta, who died tragically a long time ago. Delving further, Scottie learns that Carlotta went mad after her husband left her and took their child, then killed herself at age twenty-six - Madeleine’s age. While closely following Madeleine, with whom he is becoming increasingly fascinated, Scottie watches as she walks to the edge of the San Francisco Bay and jumps into the water in an apparent suicide attempt. Scottie pulls her out of the water and takes the unconscious woman back to his apartment. A short time later, Madeleine turns up at Scottie’s apartment and describes a dream she had. Scottie recognizes its setting as the old mission at San Juan Batista, where Carlotta supposedly took her own life. The two drive there, but Scottie cannot prevent Madeleine from running towards the church and climbing the bell tower. Before he can follow her, he hears a scream and sees Madeleine’s body falling past the window.
James Stewart and Kim Novak in “Vertigo”
After this traumatic experience, Scottie suffers a nervous breakdown and is committed to an asylum. Following a year of treatment, he reenters the world, haunting the places where he used to see Madeleine. While roaming the hilly streets of San Francisco, he spots Judy (Kim Novak), a brunette who bears a striking resemblance to Madeleine. Step by step, Scottie begins to uncover the deception that Gavin and Judy have carried out: Judy was Gavin Elster’s lover, and the two of them had arranged the murder of the real Ms. Elster in a way that vertigo-suffering Scottie had to be convinced that he had witnessed a suicide …
Vertigo is hailed as Hitchcock’s masterpiece by many critics, who like to point out that James Stewart serves as an alter ego who lives out the director’s fears and obsessions. In addition to that, I adore the magnificently photographed locations around San Francisco Bay and Bernard Herrmann’s riveting score which pulls the viewer even deeper into the haunting, dream-like atmosphere. Underrated Kim Novak turns in a bravura performance, and James Stewart was rarely more impressive than in this very part.
In October 1996, a restored version of Vertigo made its way into the theaters, captivating a whole new generation of moviegoers.
Star Bios
James Stewart was born on May 20, 1908, in Indiana, Pennsylvania. In his youth, he aspired to become an architect, and he applied himself to that goal during his years at Princeton. However, in 1932, fellow student Joshua Logan convinced him to join the University Players at Falmouth, Massachusetts. When Hollywood beckoned in 1935, Stewart was already a Broadway veteran. His first feature-film appearance was in MGM's The Murder Man (1935), in which he played a reporter named Shorty. In the following years, he became one of the busiest actors in town, graduating from supporting roles to more important parts, as in You Can’t Take It With You (1938). That picture marked the beginning of his fruitful association with director Frank Capra, who saw in Stewart’s shy, stammering, sincere screen persona the ideal incarnation of his American Everyman. So it was only logical for Capra to cast Stewart as the idealistic young senator in Mr. Smith Goes To Washington (1939), a box-office hit that earned him his first Academy Award nomination. He followed it up that same year with a well-remembered turn as the seemingly gun-shy sheriff in Destry Rides Again (opposite Marlene Dietrich), and won his Best Actor Oscar in 1941 for his surprising portrayal of a fast-talking reporter who falls for Katharine Hepburn in The Philadelphia Story (1940).
During World War II, Stewart rose from private to colonel in the U.S. Army Air Corps, flying 20 combat missions over enemy territory and earning both the Air Medal and the Distinguished Flying Cross. Upon his return to Hollywood, he teamed up once again with Frank Capra for It’s A Wonderful Life (1946). As George Bailey, the small-town dreamer who hits rock bottom - the literal depths of despair - before learning how many lives he has touched, Jimmy delivered what may be his best performance, but definitely the one for which he is most remembered and loved.
In his post-war career, Stewart broadened the range of characters he portrayed. He was just as believable as a tough Westerner (in several movies directed by Anthony Mann) as he was as a crusading reporter in Call Northside 777 (1948), and as the eccentric dreamer Elwood P. Dowd in Harvey (1950), where he befriends a six-foot-tall white rabbit. He worked for Alfred Hitchcock in Rear Window (1954), The Man Who Knew Too Much (1956) and Vertigo, and portrayed two great American heroes of the 20th century in The Glenn Miller Story (1954) and The Spirit Of St. Louis (1957, as Charles Lindbergh). Of his later films, the most memorable are Flight Of The Phoenix (1965) and The Shootist (1976), which gave him a small but juicy supporting role as the doctor who tells aging gunfighter John Wayne that he is terminally ill.
During the 1973-74 television season, he starred as counselor Billy Jim Hawkins in the TV show, Hawkins (On Murder). His final film role was a delightful piece of voice-over work as Sheriff Wylie Burp in the animated film An American Tail: Fievel Goes West (1991). When Stewart passed away in Beverly Hills, California, on July 2, 1997, America wept for a man who had gracefully embodied values and traditions the American nation holds dear - a man who had been revered for decades as an incarnation of the "Decent American", and who arguably was the most loved actor ever to grace the silver screen.
Kim Novak was born Marilyn Pauline Novak on February 13, 1933, in Chicago, Illinois. She made a rather inauspicious entry into show business, touring the country as “Miss Deepfreeze” and promoting refrigerators. She also worked as a model and was signed by Columbia Pictures in 1954, where studio boss Harry Cohn saw her as a potential rival to Marilyn Monroe and, reportedly, a possible successor to the “difficult” Rita Hayworth. Despite doubts about her acting abilities, Novak became a major box office attraction. She worked hard and delivered credible performances in The Man With The Golden Arm (1955, opposite Frank Sinatra), Picnic (1955) and Pal Joey (1957). By the late 1950s, she was one of Hollywood's most popular stars, and her rumored off-screen romances with Sammy Davis Jr., Cary Grant and Frank Sinatra filled newspaper gossip columns.
In 1958, she appeared in her two most enduring pictures, both featuring memorable romantic pairings: Alfred Hitchcock's Vertigo, opposite James Stewart, and Richard Quine’s Bell, Book And Candle, in which she played a fetching witch who charms a soon-to-be-married publisher (Jack Lemmon). In the early 1960s, she continued to appear in a variety of films, including comedies such as Billy Wilder's Kiss Me, Stupid (1964). She worked only intermittently in films thereafter, making her final film appearance in Liebestraum (1991), and also made occasional TV appearances over the years.
During the 1996 theatrical re-release of Vertigo, she made newspaper and magazine headlines once again. Apart from rare interviews and special appearances to accept various lifetime achievement honors - the latest one being an honorary Golden Lion for lifetime achievement at the 2025 Venice Film Festival - she has largely stayed out of the limelight.
The Director
Alfred Hitchcock was born on August 13, 1899, in Leytonstone, London, England. The “Master of Suspense” lived to see his name become synonymous with stylish, sophisticated suspense, laced with humor and romance. Educated by Jesuits at St. Ignatius College, the young Hitchcock developed a flair for all things mechanical and entered the film industry in 1920, initially working as a title-card designer for silent motion pictures. In 1925, he directed his first feature film. Early British classics such as The 39 Steps (1935) and The Lady Vanishes (1938) showed his most common motif: Ordinary people, with whom audiences can easily identify, are suddenly placed in life-or-death situations, being chased by the authorities as well as by the villains.
In 1939, Hitchcock succumbed to the lure of Hollywood; his first film there was Rebecca (1940), which won the Best Picture Oscar and cemented his standing. He continued to masterfully manipulate audiences’ emotions in such classics as
Notorious (1946) with Ingrid Bergman, Cary Grant
Dial M For Murder (1954) with Grace Kelly, Ray Milland
Rear Window (1954) with Grace Kelly, James Stewart
To Catch A Thief (1955) with Grace Kelly, Cary Grant
Vertigo (1958) with James Stewart, Kim Novak
North By Northwest (1959) with Cary Grant, Eva Marie Saint
Psycho (1960) with Anthony Perkins, Janet Leigh
The Birds (1963) with Rod Taylor, Tippi Hedren
In most of his films, Hitchcock made a customary cameo appearance, his portly frame making him instantly recognizable. He brought out the best in his stars (including James Stewart, Cary Grant and the ultimate “Hitchcock blonde”, Grace Kelly), and inspired composer Bernard Herrmann to do some highly influential and much-imitated scores (Vertigo, North By Northwest, Psycho). Between 1955 and 1965, he further enhanced his own celebrity through his popular television anthology series, Alfred Hitchcock Presents (1955-1962) and The Alfred Hitchcock Hour (1962-1965), which he introduced and sometimes directed. He received the American Film Institute’s Life Achievement Award in 1979. A year later, on April 29, 1980, he died in Bel Air, California.
Quotes
(manually transcribed from video)
James Stewart and Tom Helmore in “Vertigo”
(The setup)
Gavin Elster: I asked you to come up here, Scottie, knowing that you’ve quit detective work, but I wondered if you’d go back on the job as a special favor to me. I want you to follow my wife. - No, it’s not that. We’re very happily married.
Scottie: Well, then …
Gavin Elster: I’m afraid some harm may come to her.
Scottie: From whom?
Gavin Elster: From someone dead. - Scottie, do you believe that someone out of the past, someone dead, can enter and take possession of a living being?
Scottie: No.
Gavin Elster: If I told you that I believe that this has happened to my wife, what would you say?
Scottie: Well, I’d say take her to the nearest psychiatrist. Or psychologist, or neurologist, or psycho … or maybe just a plain family doctor. I’d have him check on you, too.
Gavin Elster: Then you’re of no use to me. I’m sorry I wasted your time. Thanks for coming in, Scottie.
Scottie: Okay, I - I didn’t mean to be that rough.
Gavin Elster: No, it sounds idiotic, I know. But you’re still the hard-headed Scott, aren’t you? Always were. Do you think I’m making it up?
Scottie: No.
Gavin Elster: I’m not making it up. I wouldn’t know how. She’ll be talking to me about something. Suddenly, the words fade into silence. The power comes into her eyes, and they go blank. She’s somewhere else, away from me - someone I don’t know. I call to her, she doesn’t even hear me. Then, with a long sigh, she’s back. Looks at me, brightly. Doesn’t even know she’s been away, can’t tell me where or when.
Scottie: How often does this happen?
Gavin Elster: More and more in the past few weeks. And she wanders - God knows where she wanders. I followed her one day. Watched her coming out of the apartment - someone I didn’t know. She even walked a different way. She got into her car and drove out to Golden Gate Park. Five miles. Sat by the lake, staring across the water. The pillars that stand on the far shore, you know, the “portals of the past”. Sat there a long time without moving. I had to leave, get back to the office. When I got home that evening, I asked her what she had done all day. She said she’d driven out to Golden Gate Park and sat by the lake, that’s all.
Scottie: Well -
Gavin Elster: The speedometer on her car showed that she had driven 94 miles. Where did she go? I’ve got to know, Scottie. Where she goes, and what she does, before I get involved with doctors.
Scottie: Well, have to talked to the doctors at all about that?
Gavin Elster: Yes, but carefully. I want to know more before committing her to that kind of care. Scottie!
Scottie: All right, I’ll get you a private eye’s follower for her. They’re dependable, good boys.
Gavin Elster: I want you.
Scottie: Look, this isn’t my line!
Gavin Elster: Scottie, I need a friend. Someone I can trust. I’m in a panic about this.
Scottie: I’m supposed to be retired. I don’t want to get mixed up in this darn thing.
Gavin Elster: Look, we’re going to an opening at the Opera tonight. We’re dining at Ernie’s first. You can see her there.
Scottie: Ernie’s …
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James Stewart and Kim Novak in "Vertigo"
(At Muir Woods)
Madeleine: How old?
Scottie: Oh, some 2,000 years or more.
Madeleine: The oldest living things …
Scottie: Yes. - You’ve never been here before?
Madeleine: No.
Scottie: What do you think?
Madeleine: All the people who’ve been born and have died while the trees were all living.
Scottie: Their true name is sequoia sempervirens - always green, ever living.
Madeleine: I don’t like them.
Scottie: Why?
Madeleine: Knowing I have to die.
(They proceed to a place where a cross-section of an old tree is at display. Some of the year rings are labeled with corresponding historic events)
Scottie: Here’s a cross-section of one of the old trees that’s been cut down.
Madeleine: Somewhere in here I was born - and there I died. It was only a moment for you. You took no notice.
Scottie: Madeleine … Madeleine, where are you now?
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Kim Novak and James Stewart in "Vertigo"
(Final sequence)
Judy: Scottie, why are we here?
Scottie: I told you. I have to go back into the past once more, just once more. For the last time.
Judy: Why? Why here?
Scottie: Madeleine died here, Judy.
Judy: I don’t want to go. I’d rather wait here.
Scottie: Oh, but I need you.
Judy: Why?
Scottie: I need you to be Madeleine for a while, and when it’s done, we’ll both be free.
Judy: I’m scared!
(She tries to break away)
Scottie: No, no, I have to tell you about Madeleine now. Right there - we stood there and I kissed her for the last time. And she said, “If you lose me, you’ll know that I loved you …”
Judy (trying to break away again): Scottie!
Scottie: “… and I wanted to keep on loving you.” And I said, “I won’t lose you”, but I did. And then she turned and ran into the church. I followed her - it was too late.
Judy: I don’t want to go in there!
Scottie: Too late!
(They enter the church)
Judy: I don’t want to go …
Scottie: I couldn’t find her. And then I heard footsteps on the stairs. She was running up the tower, right here. See?
Judy: Scottie …
Scottie: She was running up the stairs, and through the trap door to the top of the tower. I tried to follow her, but I couldn’t get to the top. I tried, but I couldn’t get to the top. One doesn’t often get a second chance, but I want to stop being haunted. You’re my second chance, Judy. You’re my second chance.
Judy: No way!
Scottie: You look like Madeleine now. Walk the stairs!
Judy: No!
Scottie: Walk the stairs. Walk the stairs, Judy. And I’ll follow.
(They walk up slowly)
This was as far as I could get, but you went on. Remember? The necklace, Madeleine. That was where you slipped. I remembered the necklace.
Judy: Let me go!
Scottie: No, we’re going up the tower, Madeleine.
Judy: You can’t, you’re afraid!
Scottie: Well, we’ll see. We’ll see. This is my second chance.
(They move on)
Judy: I’m afraid!
Scottie: But you weren’t that day when I wouldn’t be able to follow you. Who was up there when you got up there, Elster and his wife?
Judy: Yes!
Scottie: Yes, and she was the one who died. The real wife, not you. You were the copy, you were the clone. Was she dead or alive when you got there?
Judy: Dead. He broke her neck.
Scottie: He had broken her neck. He wasn’t taking any chances, was he? So when you got up there, he threw her off the tower. But is was you that screamed. Why did you scream?
Judy: I wanted to stop it, Scottie. I ran up to stop it, I …
Scottie: If you wanted to stop it, why did you scream? You had tricked me so well up to then. And you played the wife very well, Judy. He made you over, didn’t he? He made you over just like I made you over, only better. Not only the clothes and the hair, but the looks and the manner and the words. And those beautiful phony trances! And you jumped into the Bay, didn’t you? I bet you’re a wonderful swimmer, aren’t you? Aren’t you?
Judy: Yes!
Scottie: And then what did he do? Did he train you? Did he rehearse you? Did he tell you exactly what to do, what to say? You were a very apt pupil too, weren’t you? You were a very apt pupil! Why did you pick out me? Why me?
Judy: Because of your illness …
Scottie: I was the setup, wasn’t I? I was the setup. I was the tailored witness. (They arrive at the top) I made it. I made it.
Judy: What’ll you do?
Scottie: We’re going up and look at the scene of the crime. Come on, Judy!
(They move on through the trap door to the top of the tower)
And this is where it happened. The two of you hid back there and waited for it to clear, and then you sneaked out and rode back to town. Is that it? And Madeleine, you were his girl, eh? What happened, Judy? What happened? Did he ditch you? Oh Judy, with all of his wife’s money and all that freedom and that power, and he ditched you. What a shame! When he knew it was safe, he knew you couldn’t talk, did he give you anything?
Judy: Just some money.
Scottie: … and the necklace. Carlotta’s necklace. There was where you made your mistake, Judy. You shouldn’t keep souvenirs of a killing. You shouldn’t have been - you shouldn’t have been that sentimental. - I loved you so, Madeleine.
Judy: Scottie! I was safe when you found me. There was nothing you could prove. When I saw you again, I couldn’t run away. I loved you so much. I walked into danger and let you change me because I loved you, and I wanted you. Oh, Scottie, Scottie, please! You love me. We’ll be safe.
Scottie: Too late. It’s too late. There’s no bringing her back.
Judy: Please!
(They kiss. A dark-gowned nun enters the plateau. Judy breaks away in fright)
No!
(Judy falls down the tower)
Nun: I heard voices. - God have mercy! (She rings the bell)
James Stewart in the closing shot of “Vertigo”
映画の邦題：『めまい』1958年