A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
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, as he believes she has been possessed by a dead ancestor who committed suicide. Scottie is skeptical, but agrees to the assignment after he sees the beautiful Madeleine.Written by
After additional location shoots at the Big Basin Redwoods State Park and the Spanish mission San Juan Bautista, the cast and crew settled in at Paramount Pictures Studio soundstages for two months of filming. In the studio, Sir Alfred Hitchcock was in his element, and could exert absolute control, though he had his share of creative challenges. One very striking sequence is the kissing scene that occurs when Scottie has finally made Judy over as Madeleine. As the couple kiss, the background slowly swirls, and we lose equilibrium as we see Judy's apartment become the livery stables of San Juan Bautista, setting for an earlier emotional scene between Scottie and Madeleine. The shot was achieved with rear projection of the background plates. The camera tracking slowly back, then forward, and with James Stewart and Kim Novak revolving on a circular platform. A key visual here that often is missed is that, as the camera circles, the scene switches to the stable at the Mission (where they first fell in love), then back to the hotel room.These simultaneous movements were difficult to coordinate, and to pull off without Stewart and Novak getting dizzy, in one take, Stewart fell and was slightly injured. Also, the green lighting in the hotel room earlier, before Judy emerges from the bathroom is an indicator of Scotty's obsession and, when she emerges, she appears enveloped in it, like a ghost, drifting toward him. The ghost of his dream has returned. Principal photography was completed three days after this shot, just before Christmas 1957. See more »
The ice cubes in Gavin and Scottie's drinks disappear. See more »
The opening Paramount logo is in black and white while the rest of the film, including the closing Paramount logo, is in Technicolor. See more »
An addition to the ending was made for some European coutries due to certain laws prohibiting a film from letting a "bad guy" get away at the end of a film. In the new ending, after Scottie looks down from the belltower (the original ending) there is a shot of Midge sitting next to a radio listening to reports of police tracking down Gavin Elster. As Midge turns off the radio the news flash also reports that 3 Berkeley students got caught bringing a cow up the stairs of a campus building. Scottie enters the room, looks at Midge plainly, and then looks out a window. Midge makes two drinks and gives one to Scottie. It ends with both of them looking out the window. This ending can be found on the restoration laserdisc. See more »
Retired detective, who is scared of heights, is hired to follow another mans wife and there follows intrigue, mystery and suspense. A super melodrama! The acting,directing, sets, costumes, script, music, etc are all excellent. And near the start of the film there is one brilliant 10 minute period when there is no dialogue but the action is controlled only by the music. A sensational analysis of the movie is by Roger Ebert: see external reviews. This picture is worthy of maximum marks.
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