Kim Novak’s Vertigo, 2025.
Directed by Alexandre O. Philippe
Starring Kim Novak, Alexandre O. Philippe
SYNOPSIS:
Explores Kim Novak’s life, highlighting her role in Alfred Hitchcock’s Vertigo, and her journey from stardom to a reclusive life as an artist in Oregon, using rare archival footage and Novak’s own reflections.
A pleasing look at essential film history, Swiss filmmaker Alexandro O. Philippe’s interview documentary features a star who chose to step away from the limelight to pursue a life dedicated to painting and caring for animals. It proclaims the true value of creativity and self-care, and draws out many notable memories and ideas.
The now 92-year-old Novak is an engaging host for this relaxed meeting and study of art, identity, and ultimately survival that flows beautifully from one chapter of her life to the next. While Philippe and Novak herself are careful to state that Vertigo does not define her as an artist, it is nevertheless a welcome and undeniable part of her acting life. This is given dramatic weight with a visually arresting scene detailing Novak’s delight at unboxing the famous grey suit she wore as Madeleine and Judy in Vertigo in 1958.
Kept in storage for decades, the outfit still looks amazing, providing a physical artifact of old Hollywood history. Philippe pairs this tactile memory with a split-screen technique that captures Novak as she watches her own performance in the film with the restaurant scene of her Madeleine/Judy meeting James Stewart’s Scottie from 1958. This artistic choice is highly effective, highlighting the enduring, visceral power of the classic movie while demonstrating how deeply Hitchcock’s movie remains an ongoing part of her inner world.
The intense pressure of the studio system and living and being a star are at the core of the documentary. The film also explores her Czech heritage and efforts to retain who she is in her heart away from any attempts from the industry to reshape her. Much attention is given to the life and work of Greta Garbo, with Philippe interspersing clips of her work with Novak’s own. Novak deeply admired Garbo’s vulnerability and sought to highlight it in her own acting. Novak also discusses the idea of ‘reacting’ while working a scene as opposed to ‘acting’.
As well as Vertigo itself, the documentary also touches upon Pushover from 1954, Novak’s breakout film noir role that helped to launch her as a star. It also explores her challenging biographical performance in 1957’s Jeanne Eagels, where she portrayed the real-life stage and silent film actress struggling with heroin addiction. Proving her range, she immediately followed Vertigo with 1958’s Bell, Book and Candle, which also saw her paired with Jimmy Stewart, albeit for a much lighter, romantic comedy.
Stewart is given a lot of focus in this charming documentary film, even more than Hitchcock, really. The endearing detail of Novak wearing socks and slippers around him in total comfort highlights the bond of mutual trust the two performers shared. The need for assured comfort well away from the bright lights of Hollywood is further reflected in her lifelong love of animals, whom she has looked after in her Oregon ranch home for decades.
Her beloved home highlights her artwork with visually impressive pieces lining the walls. Philippe lets Novak discuss her ideas on creative release and creativity and how it ties into survival. She clearly has been through a lot, including three house fires over her lifetime, leading her to continue working with an energy that many younger artists would be most envious of.
Intriguingly, the presence of Alfred Hitchcock hovers over both her canvas and Philippe’s film. Novak notes that the recurring imagery of birds in her paintings could be seen as a psychological influence from the director. The connection to Hitch is underscored by a poignant final credit that explicitly thanks his ‘ghost’ for being undeniably present during the filming. Overall, Kim Novak’s Vertigo is an illuminating treat for lovers of art, cinema, and the classic film itself.
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Robert W. Monk
