Vertigo is a 1958 psychological thriller film directed by Alfred Hitchcock and starring James Stewart, Kim Novak, and Barbara Bel Geddes. The screenplay was written by Alec Coppel and Samuel A. Taylor, based on the 1954 novel D'entre les morts by Boileau-Narcejac.
It is the story of a retired police detective suffering from acrophobia who is hired as a private investigator to follow the wife of an acquaintance to uncover the mystery of her peculiar behavior.
The film received mixed reviews upon initial release, but has garnered acclaim since and is now often cited as a classic Hitchcock film and one of the defining works of his career, appearing repeatedly in best films polls by the American Film Institute.[1]
After a rooftop chase in which his latent acrophobia results in the death of a police officer, San Francisco detective John "Scottie" Ferguson retires, spending much of his time with his ex-fiancée Midge Wood. Scottie tries to gradually conquer his fear but Midge suggests another severe emotional shock might be the only cure.
An acquaintance, Gavin Elster, asks Scottie to tail his wife, Madeleine, claiming she has been possessed; Scottie reluctantly agrees. The next day Scottie follows Madeleine to a florist for a bouquet of flowers; next she visits the grave of Carlotta Valdes; then she visits an art museum where she sits watching Portrait of Carlotta, a painting of a woman resembling her. Lastly, she enters the McKittrick Hotel, but when Scottie investigates, she is missing and the clerk insists she has not been there.
Midge takes Scottie to a local history expert who informs them Carlotta Valdes tragically ended her life with suicide. Another visit with Gavin reveals Carlotta is Madeleine's great-grandmother who Gavin fears is possessing Madeleine. Gavin also says Madeleine has no knowledge of Carlotta. Scottie tails Madeleine to Fort Point (just beneath the Golden Gate Bridge), where she suddenly leaps into San Francisco Bay. Scottie rescues Madeleine and takes her to his home. The meeting is tense and leads to a strange intimacy between them but Madeleine quickly slips out when Scottie receives a phone call.
The next day Scottie follows Madeleine to his own house, where she is hand-delivering a thank-you note to him for rescuing her, and they decide to spend the day together because Scottie fears Madeleine might attempt suicide again. The two travel to Muir Woods and then Cypress Point along 17-Mile Drive near Pebble Beach, where Madeleine, embarrassed from confessing that her dreams sound mad, runs to the ocean. Scottie chases after her and they embrace and kiss. Upon hearing the details of her nightmare, Scottie identifies the setting as Mission San Juan Bautista and takes Madeleine there, where they proclaim their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted on the steps by vertigo and paralyzing fear, watches as Madeleine plunges to her death.
An inquest declares Madeleine's death a suicide, but Scottie feels ashamed that his weakness rendered him incapable of preventing someone's death. Gavin does not fault Scottie, but in the following weeks Scottie becomes depressed. While treated in a sanatorium, he becomes mute, haunted by vivid nightmares. Although Midge visits, his condition remains the same. After release, Scottie haunts the places that Madeleine visited, often imagining that he sees her. One day, he spots a woman who reminds him of Madeleine, despite the woman's less elegant dress and heavier makeup. Scottie follows the woman to her hotel room where she identifies herself as Judy Barton from Kansas. Though initially suspicious and defensive, Judy eventually agrees to join Scottie for dinner.
After Scottie leaves, Judy has a flashback revealing that she was, in fact, the woman known as "Madeleine," but she is not Gavin's wife. Judy prepares to leave and writes a confession letter to Scottie explaining that she was an accomplice to the real Madeleine Elster's murder by Gavin, and how Gavin had taken advantage of Scottie's acrophobia. She rips up the letter and decides to continue the charade because of her love for Scottie.
Scottie remains obsessed by his memory of "Madeleine" and their similarities. He transforms an initially unwilling Judy until she once more resembles Madeleine. Judy agrees to change on the chance that they may finally find happiness together. But Scottie realizes the truth when Judy wears a unique necklace that he remembered from the portrait of Carlotta Valdes. Instead of dinner, Scottie insists on taking Judy to the Mission San Juan Bautista.
There, he reveals that he wants to reenact the event that led to his madness, admitting that he now knows Madeleine and Judy are the same. Scottie forces her up the bell tower and angrily presses Judy to admit her deceit. Scottie reaches the top, conquering his acrophobia at last. Judy confesses that Gavin had hired her to pose as a possessed Madeleine; Gavin faked the suicide by tossing the body of his already-murdered wife from the bell tower.
Judy pleads to Scottie to forgive her because she loves him. The two embrace when a nun, in shadow, emerges from the trapdoor; startled, Judy steps backward and falls to her death. Scottie stands on the narrow ledge while the nun rings the mission bell.
The screenplay is an adaptation of the French novel The Living and the Dead (D'entre les morts) by Pierre Boileau and Thomas Narcejac. Hitchcock had previously tried to buy the rights to the same authors' previous novel, Celle qui n'était plus, but he failed, and it was made instead by Henri-Georges Clouzot as Les Diaboliques.[2] Although François Truffaut once suggested that D'Entre les morts was specifically written for Hitchcock by Boileau and Narcejac,[3] Narcejac subsequently denied that this was their intention.[4] However, Hitchcock's interest in their work meant that Paramount Pictures commissioned a synopsis of D'Entre les morts in 1954, before it had even been translated into English.[5]
Hitchcock originally hired playwright Maxwell Anderson to write a screenplay, but rejected his work, which was entitled Darkling, I Listen (a quotation from Keats's Ode to a Nightingale). A second version, written by Alec Coppel, again dissatisfied the director. The final script was written by Samuel A. Taylor — who was recommended to Hitchcock due to his knowledge of San Francisco —[5] from notes by Hitchcock. Among Taylor's creations was the character of Midge.[6] Taylor attempted to take sole credit for the screenplay, but Coppel protested to the Screen Writers Guild, which determined that both writers were entitled to a credit.[7]
When actress Vera Miles, who was under personal contract to Hitchcock and had appeared on both his television show and in his film The Wrong Man, could not act in Vertigo owing to her pregnancy, the director declined to postpone shooting and cast Kim Novak as the female lead. Ironically, by the time Novak had tied up prior film commitments and a vacation promised by Columbia Pictures, the studio that held her contract, Miles had given birth and was available for the film. Hitchcock proceeded with Novak, nevertheless. Columbia head Harry Cohn agreed to lend Novak to Vertigo if Stewart would agree to co-star with Novak in Bell, Book and Candle, a Columbia production released in December 1958.
In the book, Judy's involvement in Madeleine's death was not revealed until the denoument. At the script stage, Hitchcock suggested revealing the secret two-thirds of the way through the film so that the audience would understand Judy's mental dilemma.[8] After the first preview, Hitchcock was unsure whether to keep the "letter writing scene" or not. He decided to remove it. Herbert Coleman, Vertigo's associate producer and a frequent collaborator with Hitchcock, felt the removal was a mistake. However, Hitchcock said "Release it just like that." James Stewart agreed with Hitchcock and said to Coleman: "Herbie, you shouldn't get so upset with Hitch. The picture's not that important." Hitchcock's decision was supported by Joan Harrison, another member of his circle, who felt that the film had been improved. Coleman reluctantly made the necessary edits. When he received news of this, Paramount head Barney Balaban was very vocal about the edits and ordered Hitchcock to "Put the picture back the way it was." As a result, the "letter writing scene" remained in the final film.[9]
A coda to the film was shot that showed Midge listening to a radio report (voiced by unseen San Francisco radio announcer Dave McElhatton)[citation needed] describing the pursuit of Gavin Elster across Europe. When Scottie enters, she switches the radio off. They share a drink and look out of the window in silence. Contrary to reports that this scene was filmed to meet foreign censorship needs,[10] this tag ending had originally been demanded by Geoffrey Shurlock of the U.S. Production Code Administration, who had noted: "It will, of course, be most important that the indication that Elster will be brought back for trial is sufficiently emphasized." Hitchcock finally succeeded in fending off most of Shurlock's demands (which included toning down erotic allusions) and had the tag ending dropped.[5] It is included as an extra on the Laserdisc and the 2008 DVD release, but therein lies an in-joke, for the film's restorers Robert A. Harris and James C. Katz can clearly be heard as the announcers on the radio during the 90 seconds tag.[citation needed]
Various internet sources state that this longer version was actually shown in British cinemas,[citation needed] where Vertigo was passed by the British Board of Film Classification with a running time of 132 minutes.[11]
The score was written by Bernard Herrmann. It was not conducted by him, but was conducted by Muir Mathieson and recorded in Europe, due to a musician's strike in the U.S.[12]
In a 2004 special issue by Sight & Sound devoted to Film Music, Martin Scorsese described the qualities of Herrmann's famous score:
Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again ... And the music is also built around spirals and circles, fulfilment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession.[12]
The "Love Theme From Vertigo" was used for an extended sequence in the 2011 black and white silent film The Artist, which won the Academy Award for Best Picture.
Madeleine Elster (
Kim Novak), in Scottie's apartment.
Filmed from September to December 1957, Vertigo uses location footage of the San Francisco Bay Area, with its steep hills and tall, arching bridges. In the driving scenes shot in the city, the main characters' cars are almost always pictured heading down the city's steeply inclined streets.[13] In October 1996, the restored print of Vertigo debuted at the Castro Theatre in San Francisco with a live on-stage introduction by surviving cast member Kim Novak, providing the city a chance to celebrate itself.[14] Visiting the San Francisco film locations has something of a cult following as well as modest tourist appeal. Such a tour is featured in a subsection of Chris Marker's documentary montage Sans Soleil.
In March 1997, the cultural French magazine Les Inrockuptibles published a special issue titled Vertigo's about the film locations in San Francisco, Dans le décor, which lists and describes all actual locations.[15]
Areas that were shot on location (not recreated in a studio):[16]
- Scottie's apartment (900 Lombard Street) is one block downhill from the "crookedest street in the world". Although the door has been repainted, the entrance is easily recognizable save for a few small changes to the patio. The doorbell and the mailbox, which Madeleine uses to deliver a note to Scottie, are exactly the same as they were in the film.
- The Mission San Juan Bautista, where Madeleine falls from the tower, is a real place, but the tower had to be matted in with a painting using studio effects; Hitchcock had first visited the mission before the tower was torn down due to dry rot, and was reportedly displeased to find it missing when he returned to film his scenes. The original tower was much smaller and less dramatic than the film's version.
- The Carlotta Valdes headstone featured in the film (created by the props department) was left at Mission Dolores. Eventually, the headstone was removed as the mission considered it disrespectful to the dead to house a tourist attraction grave for a fictional person. As a Roman Catholic cemetery, it is unlikely Carlotta would have been buried there on account of her suicide and illegitimate daughter. All other cemeteries in San Francisco were evicted from city limits in 1912, so the screenwriters had no other option but to locate the grave at Mission Dolores.
- Madeleine jumps into the sea at Fort Point, underneath the Golden Gate Bridge.
- The gallery where Carlotta's painting appears is the California Palace of the Legion of Honor in San Francisco. The Carlotta Valdes portrait was lost after being removed from the gallery, but many of the other paintings in the background of the portrait scenes are still on view.
- Muir Woods National Monument is represented by Big Basin Redwoods State Park; however, the cutaway of the redwood tree showing its age is a replica of one that can still be found at Muir Woods.[clarification needed]
- The coastal region where Scottie and Madeleine first kiss is Cypress Point, a location along the 17 Mile Drive near Pebble Beach. However, the lone tree by which they kiss is a prop brought specially to the location.[17]
- The domed building past which Scottie and Judy walk is the Palace of Fine Arts.
- Coit Tower appears in many background shots; Hitchcock once said that he included it as a phallic symbol.[18] Also prominent in the background is the tower of the San Francisco Ferry Building.
- The exterior of the sanatorium where Scottie is treated was a real sanatorium, St. Joseph's Hospital, located at 355 Buena Vista East, across from Buena Vista Park. The complex has been converted into condominiums and the building, built in 1928, is on the National Register of Historic Places.
- Gavin and Madeleine's apartment building is "The Brocklebank" at 1000 Mason Street on Nob Hill, which still looks essentially the same. It is across the street from the Fairmont Hotel, where Hitchcock usually stayed when he visited and where many of the cast and crew stayed during filming. Shots of the surrounding neighborhood feature the Flood Mansion and Grace Cathedral. Barely visible is the Mark Hopkins hotel, mentioned in an early scene in the movie.
- The "McKittrick Hotel" was a privately-owned Victorian mansion from the 1880s at Gough and Eddy Streets. It was torn down in 1959 and is now an athletic practice field for Sacred Heart Cathedral Preparatory School. The St. Paulus Lutheran Church, seen across from the mansion, was destroyed in a fire years later.
- Podesta Baldocchi is the flower shop Madeleine visits as she is being followed by Scottie. The shop's location at the time of filming was 224 Grant Avenue. The Podesta Baldocchi flower shop now does business from a location at 410 Harriet Street.[19]
- The Empire Hotel is a real place, called the York Hotel, and now (as of January 2009) the Hotel Vertigo at 940 Sutter Street. Judy's room was created, but the green neon of the "Hotel Empire" sign outside is based on the actual hotel's sign (it was replaced when the hotel was renamed).
- Ernie's Restaurant (847 Montgomery St.) was a real place in North Beach, not far from Scottie's apartment. It is no longer operating.
- One short scene shows Union Square at dawn, with old-fashioned "semaphore" traffic lights. Pop Leibl's bookstore, the Argosy, was not a real location, but one recreated on the Paramount lot in imitation of the real-life Argonaut Book Store, which still exists near Sutter and Jones.
- One significant difference from the movie and actual San Francisco geography is Elster's Mission District Shipping Company (the Mission being described as "Skid Row"). The Mission district is actually inland, and the designation of a Mission Bay neighborhood only occurred in the 1980s. At the time, the neighborhood would have been referred to as South of Market (SoMA). It is possible a single "mission" phone exchange included port facilities, but the location of a shipyard in the mission district is a sheer impossibility.
Vertigo premiered in San Francisco on May 9, 1958 at the Stage Door Theater at Mason and Geary (now the Ruby Skye nightclub). Its performance at the box office was average,[20] and reviews were mixed. Variety said the film showed Hitchcock's "mastery", but was too long and slow for "what is basically only a psychological murder mystery".[21] Similarly, the Los Angeles Times admired the scenery, but found the plot "too long" and felt it "bogs down" in "a maze of detail"; scholar Dan Aulier says that this review "sounded the tone that most popular critics would take with the film".[22] However, the Los Angeles Examiner loved it, admiring the "excitement, action, romance, glamor and [the] crazy, off-beat love story".[23] As well, New York Times film critic Bosley Crowther also gave Vertigo a positive review by explaining that "[the] secret [of the film] is so clever, even though it is devilishly far-fetched."[24]
Additional reasons for the mixed response initially were that Hitchcock fans were not pleased with his departure from the romantic-thriller territory of earlier films and that the mystery was solved with one-third of the film left to go.[25]
In an interview with François Truffaut, Hitchcock stated that Vertigo was one of his favorite films, with some reservations.[26] Hitchcock blamed the film's failure on Stewart, at age 50, looking too old to play a convincing love interest for Kim Novak, who at 25 was half his age.[27]
Hitchcock and Stewart received awards at the San Sebastián International Film Festival, including a Silver Seashell for Best Director (tied with Mario Monicelli for I soliti ignoti (Big Deal on Madonna Street aka Persons Unknown) and Best Actor (also tied, with Kirk Douglas in The Vikings). The film was nominated for just two Academy Awards, in the technical categories[28] Best Art Direction - Black-and-White or Color (Hal Pereira, Henry Bumstead, Samuel M. Comer, Frank McKelvy) and Best Sound (George Dutton).[29]
Judy at Scottie's apartment
In the 1950s, the French Cahiers du cinéma critics began re-evaluating Hitchcock as a serious artist rather than just a populist showman. However, even François Truffaut's important 1962 interviews with Hitchcock (not published in English until 1967) mentions Vertigo only in passing. Dan Aulier has suggested that the real beginning of Vertigo's rise in adulation was the British-Canadian scholar Robin Wood's Hitchcock's Films (1968), which calls the film "Hitchcock's masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us".[30] Adding to its mystique was the fact that Vertigo was one of five films owned by Hitchcock which was removed from circulation in 1973. When Vertigo was re-released in theaters in October 1983, and then on home video in October 1984, it achieved an impressive commercial success and laudatory reviews.[31] Similarly adulatory reviews were written for the October 1996 showing of a restored print in 70mm and DTS sound at the Castro Theater in San Francisco.[32]
In 1989, Vertigo was recognized as a "culturally, historically and aesthetically significant" film by the United States Library of Congress and selected for preservation in the National Film Registry in the first year of the registry's voting.
The film ranked 4th and 2nd respectively in Sight and Sound's 1992 and 2002 critic polls of the best films ever made.[33][34] In 2005, Vertigo came in second (to Goodfellas) in British magazine Total Film's book 100 Greatest Movies of All Time.[35]
In his book Blockbuster: How Hollywood Learned to Stop Worrying and Love the Summer, however, British film critic Tom Shone argued that Vertigo's critical re-evaluation has led to excessive praise, and argued for a more measured response. Faulting Sight and Sound for "perennially" putting the film on the list of best-ever films, he wrote that "Hitchcock is a director who delights in getting his plot mechanisms buffed up to a nice humming shine, and so the Sight and Sound team praise the one film of his in which this is not the case – it's all loose ends and lopsided angles, its plumbing out on display for the critic to pick over at his leisure."
American Film Institute recognition
In 1996, director Harrison Engle produced a documentary about the making of Hitchcock's classic, Obsessed with Vertigo. Narrated by Roddy McDowell, the film played on American Movie Classics, and has since been included with DVD versions of Vertigo. Surviving members of the cast and crew participated, along with noted filmmaker Martin Scorsese and Alfred's daughter, Patricia Hitchcock. Engle first visited the Vertigo shooting locations in the summer of 1958, just months after completion of the film.
In 1996, the film was given a lengthy and controversial restoration by Robert A. Harris and James C. Katz and re-released to theaters. The new print featured restored color and newly created audio, utilizing modern sound effects mixed in DTS digital surround sound. In October 1996, the restored Vertigo premiered at the Castro Theatre in San Francisco, with Kim Novak and Patricia Hitchcock in person. At this screening, the film was exhibited for the first time in DTS and 70mm, a format with a similar frame size to the VistaVision system in which it was originally shot.
One bone of contention regarding the 1996 restoration was the decision to re-record the foley sound effects from scratch (to allow Dolby-quality mixing for surround sound and stereo). Harris and Katz wanted to stay as close as possible to the original: "It was our intent to re-mix the original music tracks with dialogue culled from the old mono and new Foley and effects tracks, which were to have been created following Mr. Hitchcock's original notes. That was the intent. It is not what occurred, the studio having made the decision to re-invent the track anew."[37] Harris and Katz sometimes added extra sound effects to camouflage defects in the old soundtrack ("hisses, pops, and bangs"); in particular they added extra seagull cries and a foghorn to the scene at Cypress Point.[38] The new mix has also been accused of putting too much emphasis on the score at the expense of the sound effects.[39] The 2005 Hitchcock Masterpiece Collection DVD contains the original mono track as an option.
Significant color correction was necessary because of the fading of original negatives. In some cases a new negative was created from the silver separation masters, but in many instances this was impossible because of differential separation shrinkage, and because the 1958 separations were poorly made. Separations used three individual films: one for each of the primary colors. In the case of Vertigo, these had shrunk in different and erratic proportions, making re-alignment impossible. As such, significant amounts of computer assisted coloration were necessary. Although the results are not noticeable on viewing the film, some elements were as many as eight generations away from the original negative, in particular the entire "Judy's Apartment" sequence, which is perhaps the most pivotal sequence in the entire film (on a large screen this sequence appears to be a 16mm duplicate of the original).
When such large portions of re-creation become necessary, then the danger of artistic license by the restorers becomes an issue, and the restorers received some criticism for their re-creation of colors that allegedly did not honor the director and cinematographer's intentions. The restoration team argued that they did research on the colors used in the original locations, cars, wardrobe, and skin tones. One breakthrough moment came when the Ford Motor Company supplied a well-preserved green paint sample for a car used in the film. As the use of the color green in the film has artistic importance, matching a shade of green was a stroke of luck for restoration and provided a reference shade from which to work.[40]
The Vertigo Murders, a 2000 novel by J. Madison Davis, is a detective story with Hitchcock as a character, set during the filming of Vertigo. Kim Novak and Jimmy Stewart appear as themselves within the story.
The Testament of Judith Barton, a 2012 novel by Wendy Powers & Robin McLeod, tells the back-story of Kim Novak's character. The novel creates a life for Judy Barton that foreshadows and motivates her involvement in the plot of the film.
- ^ "AFI's 10 Top 10". American Film Institute. Retrieved 2012-02-21.
- ^ "Thomas Narcejac, 89, Author of Crime Novels". The New York Times. 1998-07-05. http://query.nytimes.com/gst/fullpage.html?res=9804E5DD153EF936A35754C0A96E958260. Retrieved 2007-12-01.
- ^ Truffaut, François; Hitchcock, Alfred. Hitchcock. New York: Simon and Schuster. OCLC 273102.
- ^ The Dime Novel and the Master of Suspense: The Adaptation of D'Entre Les Morts Into Vertigo, By Dan Jones; Published by University of St. Thomas (Saint Paul, Minn.), 2002
- ^ a b c Dan Aulier, Vertigo: The Making of a Hitchcock Classic (London: Titan Books, 1999), p. 30.
- ^ Dan Aulier, Vertigo: The Making of a Hitchcock Classic (London: Titan Books, 1999), p. 51.
- ^ Dan Aulier, Vertigo: The Making of a Hitchcock Classic (London: Titan Books, 1999), p. 61-2.
- ^ Patrick McGilligan. Alfred Hitchcock: A Life in Darkness and Light, ReganBooks, 2003. 547-548
- ^ Patrick McGilligan. Alfred Hitchcock: A Life in Darkness and Light, ReganBooks, 2003. 563-564
- ^ Vertigo 2-Disc Special Edition DVD, Universal Studios Home Entertainment, 2008.
- ^ Vertigo on the BBFC website.
- ^ a b The Best Music in Film from the September 2004 issue of Sight & Sound
- ^ Vertigo: The Making of a Hitchcock Classic, By Dan Auiler, Martin Scorsese, Contributor Martin Scorsese; Edition: reprint, illustrated; Published by Macmillan, 2000 ISBN 0-312-26409-7, ISBN 978-0-312-26409-3, page 185
- ^ Footsteps in the Fog: Alfred Hitchcock's San Francisco By Jeff Kraft, Aaron Leventhal, Contributor Patricia Hitchcock O'Connell; Edition: illustrated, Published by Santa Monica Press, 2002, Original from the University of California, ISBN 1-891661-27-2, ISBN 978-1-891661-27-3
- ^ Les Inrockuptibles, Vertigo's, by different journalists, March 1997
- ^ Jeff Kraft and Aaron Leventhal, Footsteps in the Fog: Alfred Hitchcock's San Francisco (2002).
- ^ Aulier, Vertigo, p. 90.
- ^ Kraft and Leventhal, Op. Cit., p. 122.
- ^ Podesta Baldocchi, World's Oldest Family Owned Florist - Since 1871.
- ^ Aulier, Vertigo, 174
- ^ Variety review, June 14, 1958.
- ^ Aulier, Vertigo, 170-1.
- ^ Aulier, Vertigo, 172.
- ^ Crowther, Bosley (May 29, 1958). "Movie Review - Vertigo - Vertigo,' Hitchcock's Latest; Melodrama Arrives at the Capitol". New York Times (The New York Times Company). http://movies.nytimes.com/movie/review?res=9905EEDD1031E73BBC4151DFB3668383649EDE. Retrieved 2010-08-04.
- ^ Sterritt, David (June 13, 2008). "At 50, Hitchcock's Timeless 'Vertigo' Still Offers a Dizzying Array of Gifts". The Chronicle of Higher Education.
- ^ François Truffaut, The Cinema According to Alfred Hitchcock (1967), revised edition known as Truffaut-Hitchcock (Simon & Schuster, 1985), p. 187
- ^ Eliot 2006, p. 322.
- ^ "NY Times: Vertigo". NY Times. http://movies.nytimes.com/movie/52324/Vertigo/awards. Retrieved 2008-12-23.
- ^ "The 31st Academy Awards (1959) Nominees and Winners". oscars.org. http://www.oscars.org/awards/academyawards/legacy/ceremony/31st-winners.html. Retrieved 2011-08-21.
- ^ Aulier, Vertigo, 177.
- ^ Aulier, Vertigo, 190-1.
- ^ Aulier, Vertigo, 191.
- ^ BFI's Sight & Sound, Critics' Poll - 1992.
- ^ BFI's Sight & Sound, Critics' Poll - 2002.
- ^ "Who is the greatest?". Total Film. 2005-10-24. http://www.totalfilm.com/news/who-is-the-greatest. Retrieved 2010-08-04.
- ^ "AFI's 10 Top 10". American Film Institute. 2008-06-17. http://www.afi.com/10top10/mystery.html. Retrieved 2008-06-18.
- ^ Robert A. Harris, "Reply" in the thread "A few words about... the image and audio restoration of Vertigo and DVD", Home Theater Forum
- ^ Katz, qtd. by Aulier, Vertigo, 198.
- ^ Universal pictures International
- ^ Vertigo: The Making of a Hitchcock Classic, By Dan Auiler, Martin Scorsese, Contributor Martin Scorsese; Edition: reprint, illustrated; Published by Macmillan, 2000 ISBN 0-312-26409-7, ISBN 978-0-312-26409-3, page 190-193
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