DiCinema

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 sound stages 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-over Judy as Madeleine. As the couple kiss, the background slowly swirls, and the viewer loses equilibrium as Judy's apartment become the livery stables of San Juan Bautista, the setting of 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 Scottie'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.

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