🎦 Vertigo full movie HD download (Alfred Hitchcock) - Crime, Thriller, Mystery, Romance, Film-Noir. 🎬
Crime, Thriller, Mystery, Romance, Film-Noir
IMDB rating:
Alfred Hitchcock
James Stewart as John 'Scottie' Ferguson
Kim Novak as Madeleine Elster
Barbara Bel Geddes as Midge Wood
Tom Helmore as Gavin Elster
Henry Jones as Coroner
Raymond Bailey as Scottie's Doctor
Ellen Corby as Manager of McKittrick Hotel
Konstantin Shayne as Pop Leibel
Storyline: 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, he believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine.
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Over-rated sellout
Alfred Hitchcock is the master of thrills and mysteries... so knowing that he made this just makes me hate it even more.

Every old Hollywood glam cliché is thrown at you. you like elegant women staring off into the horizon? damsels in distress? Kissing on the beach and the waves crash in the background?

This movie's got you covered!

The plot is straight forward enough, you know what's happening ten minutes in, what the movie banks on however is your investment in the character and watching their decent into obsession.

The actors were pretty good (though those eyebrows were distracting... did she use a sharpie to make them?) and the overall movie very scenic but it didn't feel like a Hitchcock movie until the very last scene, that's you're only clue to who could have this twisted sense of justice. otherwise it just felt like a sell-out, this is popular so do this, people like that so add it in...

One of my least liked movies by Hitchcock, skip it and watch a good one like rear window.
Hitchcock was on a roll during that period. Vertigo is one of his most celebrated films, even though it's modeled after Rebecca in that it's 3 films rolled into one: a love story, a metaphysical thriller, and a suspense drama. Nevertheless, the difference between the Hitchcock of 1940 and the Hitchcock of 1958 is vast. The Hitchcock of Vertigo is a much more elaborate director, that dwells on the human psyche to fill the canvas. The human psyche is the protagonist, the suspense is just the background, or even a detail. Vertigo is a major work and an essay on neurosis and repressed desire.

The plot: John Ferguson is a retired detective suffering from acrophobia. A rich old friend (Gavin Elster) hires him to investigate the activities of his wife (Madeleine), who he believes is being possessed by the spirit of a dead ancestor (Carlotta Valdes). After seeing Madeleine, Ferguson agrees. Later on, we see that Madeleine half-lives in Carlotta Valdes' house, spends a lot of time in front of a Carlotta painting in a museum, and generally models her behaviour after Carlotta. Also, Madeleine suffers from blackouts, during which she isn't in control of herself. Ferguson forms a relationship with her. He then pressures her to get rid of the past by dwelling on it, visiting places where Carlotta lived etc. During such a visit, and in the same day Carlotta died, Madeleine commits suicide by falling from the bell-tower of a chapel. Ferguson is unable to rescue her due to his acrophobia.

Following this, Ferguson is placed in a mental hospital, suffering from catatonic depression. After some time, we find Ferguson released from the mental institution and in better shape. He then meets a woman who looks a lot like Madeleine. Nevertheless, the woman, Judy Barton, seems less perfect and more vulgar than Madeleine. Ferguson forms a relationship with her, and is trying to model her after Madeleine, buying her the same clothes etc. But during one of their encounters, the truth is revealed due to Barton's carelessness. She used the same jewelry as Madeleine. Barton and Madeleine is the same woman. In truth, Madeleine/ Barton was a "doppelganger" to Elster's wife. Elster hired her in order to kill his rich wife, and manipulated Ferguson's illness so that he was a witness to the "suicide". It was the wife, and not Madeleine that fell from the tower.

Unaware that Ferguson knows the truth, Barton continues the relationship and the "transformation" to Madeleine. She now is in love with Ferguson, but Ferguson is intent on freeing himself from his acrophobia. As Barton is completely transformed to Madeleine, Ferguson takes her to the same chapel and to the bell tower. Forcing her up, she confesses the truth. She claims she is in love with him. She then sees a shadow emerging, panics and falls into the void. It turns out that the shadow was just a nun. Ferguson stands and watches from above. He is cured.


This is not an easy film to analyze. It is very dense and has lots of hidden meaning beneath the surface. The most obvious theme is the one of fixation and impotence. Ferguson suffers from vertigo; Madeleine seems to be possessed by a dead spirit; Ferguson's friend Midge is in love with him but unable to express her love and conquer him; then when Madeleine dies Ferguson becomes obsessed with her.

Madeleine represents the ideal love, perfection.

In the meantime, there are some other interesting ideas floating in the background. One is that in the second half of the film we witness a reverse situation than that of the first half. In the first half, Elster and Madeleine manipulate Ferguson's impotence. In the second half, it is Ferguson that manipulates the less-than-perfect version of Madeleine (aka Barton), even though she regrets her accomplice and is genuinely in love with him.

The ending, as well as the first half, is shrouded in the metaphysical and supernatural. The shadow that Madeleine/ Barton sees could be anything: a ghost, her guilt, Elster, the dark side of her relationship with Ferguson etc. Ferguson models Barton after Madeleine with almost necrophiliac obsession. Just before the second time that Madeleine "dies", she and Ferguson kiss, representing the ephemeral happiness in vain. After she dies, Ferguson is freed from his impotence, but we don't know his feelings, we just see him watching from above. Basically Ferguson is haunted by his search for perfection (an ideal love, a god to believe in?). There is a clear parallel between that and his impotence (the vertigo). When he tries to transform the down-to-earth Barton to the perfect Madeleine, the illusion isn't working. In order to cure himself from the impotence, he kills her (he was the one that dragged her to the chapel).

Moreover, what the film seems to project is the vortex of the human psyche. Both in the first and the second half, the conclusion is the same: the woman dies. It's the behaviour of the male protagonist alters dramatically. In the supernatural first half, the protagonist is crippled, while in the down-to-earth second half, he is more free but also less happy.

The real moment Ferguson is freed is when he realizes the truth about Madeleine. Madeleine/ Barton is sitting in front of a mirror (representing the dual personality). Then Ferguson sees the jewel and immediately thinks of the portrait of Carlotta Valdes (a symbolism of the original sin? He and Madeleine had an adulterous affair after all). Vertigo projects the male-female relationship into the conflict between the human and the ideal (the supernatural, the belief in the perfect). But there is no way out. Both stories (the first and second half) are two sides of the same coin.
quick reviews!
yes, quick, as others reviewers have gone into greater depth, and i can't add anything new.Oh baby, what a film! 1958!!! This has plot twists, even effects that put movies of today to shame. One of the most complex films ever made, with something new arising with each viewing, I think this, along with The Seven Samurai, is the best movie of all time. The first time I watched it, I had no idea how it would end, and what would become of Scotty and Madeleine. My only qualm is the fact that Midge completely disappears from the movie in the second half. Why?! It's not important though. Superbly shot, and immaculately directed, as always. 10 out of 10
SPOILERS GALORE! If you've never seen the movie, DON'T READ this review!
I suppose this is some kind of masterpiece, what with the absolutely overwhelming photography, powerful score and all - but I must say I just couldn't get into it. We're made to be patient through a looooong exposition (Scottie following her around), which I didn't mind at first because I said, "Hey it's Hitchcock - the payoff will be worth it." Well, it wasn't. Scottie's obsession was inexplicable to me (and, yes, I realize that Kim Novak is hot); maybe the writing was weak in not giving him a strong and clear enough motivation for going over the edge (what were his other romantic attachments like? Why is *this* one in particular so extremely excessive? Knowing these things would help) or maybe it's just that I can't buy Jimmy Stewart in this type of role. He projects too much groundedness, dignity and common sense for him to be convincing as this kind of obsessional basket case (the scene with him in the asylum was particularly embarrassing and unconvincing; he doesn't look "crazy" - he looks like Jimmy Stewart just refusing to say his lines). Maybe an actor a bit more rumpled and on the edge - Robert Mitchum, say - could have brought the part off better (and I'm a *huge* Jimmy Stewart fan, just so you don't get the wrong idea).

My biggest problem, however, is with the final third of the movie. Excuse me, but I just don't think it was a good idea to reveal the murder plot and its actual machinations two-thirds of the way into the film. Not knowing for certain up until the very end whether "Judy" was really "Madeleine" or whether Scottie was indeed just imagining things would have been much MUCH more effective. It would have pulled the viewer in, kept him guessing and psychologically on edge all the way through. Once you know that Scottie is "correct" in his assumption, not only is the tension gone and you're no longer immediately connected to the story, also you can't truly buy his craziness or obsession as a thematic point since, after all, he's "right." I believe this to be one of the all-time biggest scripting mistakes in the history of cinema.

Hitchcock has said, though, that suspense is not what he was primarily after in this movie. He wanted to reveal the murder plot early so it wouldn't get in the way of the attention paid to Scottie's disintegration. But without the suspense, Scottie's disintegration just looks stupid. It's like the end of the movie has already come and gone, and yet the director is still forcing us to sit through a drawn-out and pointless epilogue that just takes foreeeeeever. . .

And the ending - what's with that?! She sees a nun and so she jumps off the roof? It's absolutely RIDICULOUS - so abrupt and nonsensical, as if the editor suddenly told Hitchcock that he had to end the film RIGHT NOW, and he had to think of something fast. Clearly, the best ending (if the film had to go this long) would have been for her to slip off the edge, and then have Scottie try but fail to save her - thus mirroring his failure to save the cop at the beginning of the movie from falling, giving the whole thing a neat little symmetry. That Hitchcock failed to see the absolute rightness of this conclusion makes me wonder about his status as a cinematic genius.

Well, ok, I won't go that far - Hitch's reputation is safe. But Vertigo's isn't; this is no masterpiece, and far from the director's greatest work. Instead, this is the one film where he deserted his "popcorn" approach to creating thrills and opted for a more pensive and "mature" style, thinking this would prove him the artist so many denied that he was. It does just the opposite - by playing down what he did best (building and sustaining suspense), Hitchcock is left rudderless, and his attempt at "adult" themes just look embarrassing.

It's beautiful to look at, of course - one of the most sumptuous visual experiences in the entire history of movies. The redwoods scene, and the Golden Gate Bridge - fantastic! The scenes in the museum, too - absolutely ravishing. But, alas, great photography does not make a great movie. If only Vertigo were a coffee table book, then it might truly deserve the classic status it has been accorded.

I don't know, I guess if you're a fan of the technical aspects of cinema, and love Hitchcock for his visual bravura and like to analyze his technique, there's probably a lot here for you to enjoy (and is no doubt why it's so loved by other directors). But if you're like me, and enjoy Hitchcock films for their pure ability to keep you tense and on the edge of your seat, Vertigo is not the film to watch.
You're not lost. Mother's here.
John "Scottie" Ferguson is a San Francisco cop who decides to quit the service after his acrophobia results in him being unable to save the life of a colleague. Whilst taking it easy he gets a call from an old school friend, Gavin Elster, asking him if he wouldn't mind doing a little bit of detective work for him. The job is simply to tail his wife because she's obsessed with an ancestress who committed suicide, and the wife, Madeline, is showing signs of herself being suicidal. Ferguson tails her diligently and as the tail progresses, Ferguson himself starts to become ever obsessed about the demur blonde Madeline. As the story twists and turns, Ferguson's obsession will have far reaching consequences for both parties...

Vertigo is Alfred Hitchcock's most discussed, dissected and critically reappraised film, based on a novel by Pierre Boileau called D'Entre Les Morts, (also writer of Diabolique), Vertigo was not well liked on its release and unable to be viewed for some time due to copyright, the film was restored from a destroyed negative into a glorious 70mm print, and now in all its glory it can be seen as one of the greatest films to have ever been made. What is most striking about Vertigo, outside of Hitchcock baring his innermost that is, is that its plot on the surface is simplicity personified, but delving deeper, and repeat viewings are a necessity, its apparent that Vertigo is a chilling force of cinema, taking great delight in gnawing away at your perceptions, perhaps even your own capabilities as a human being.

Very much a film of two great halves, Vertigo first seems intent on being an almost ghost story like mystery. Once the prologue has introduced us to Ferguson's fear of heights, we then enter an almost dream like sequence of events as Ferguson tails the troubled Madeline, the suggestion of reincarnation bleakly leading to death hangs heavy as Hitchcock pulls his atmospheric strings. Then the film shifts into dark territory as obsessions and nods to Dante's Inferno and feverish dreams take control, Hitchcock, as we have come to learn over the years, lays out his soul for us the audience to partake in, the uneasy traits sitting side by side with fascination of the story. All of which is leading us to a spine tingling finale that is as hauntingly memorable as it is shocking, the end to our own dizzying journey that Alfred and his team have taken us on.

Technically the film is magnificent, the opening credits from Saul Bass brilliantly prep us for what is about to unfold, while Bernard Herrmann's score is as good as anything he ever did, unnerving one minute, swirlingly romantic the next, a truly incredible score. Hitchcock himself is firing from the top draw, introducing us to the brilliant zoom-forward-track-back camera technique to induce the feeling of Vertigo itself, with that merely a component of two hours of gorgeous texture lined with disturbing little peccadilloes. The two leads are arguably doing their respective career best work, James Stewart as Scottie Ferguson goes real deep to play it out with an edgy believability that decries his aw-shucks trademark of years since past. Kim Novak as Madeline is perhaps the quintessential Hitchcock blonde, perfect with the duality aspects of the role and playing off Stewart's ever creepy descent with seamlessly adroit skill. It however should be noted that Hitchcock and his loyal subjects had to work hard to get Novak right for the role, but the result proves that Novak had ability that sadly wasn't harnessed on too many other occasions.

Vertigo is a film that I myself wasn't too taken with on my first viewing, it's only during revisits that the piece has come to grab me by the soul and refuse to let go, it not only holds up on revisits, it also gets better with each subsequent viewing, it is simply a film that demands to be seen as many times as possible. Not only one of the greatest American films ever made, one of the greatest films ever made...period, so invest your soul in it, just the way that Hitchcock himself so clearly did. 10/10
A Standard Rave
Starting in 1958, Alfred Hitchcock directed a remarkable sequence of films in a row, each of them a classic; Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). Never has a director made four such genuinely great movies in such a short space of time, either before or since.

The pick of this high standard bunch is undoubtedly Vertigo. From the opening titles, with their circling spiral imagery, to the dramatic final scene this is a movie that takes you to a different time and place. Specifically, to a San Francisco of the past; full of deserted parks, discrete rooming houses, oddly menacing art galleries and florists where the customers enter and exit through the back door. Through this landscape wanders Jimmy Stewart, towering in the lead roll as a former detective recently retired after a bungled arrest leaves him with chronic vertigo. Plot machinations lead him to the alluring Kim Novak (one of Hitchcock's famous "blondes"), the young wife of a friend who has started behaving rather oddly.

"To reveal more," as Leonard Maltin wrote, "would be unthinkable."

While the performances of Novak and Stewart are memorable, the movie is really set apart by the intelligent script and the stylistic touches provided by the director. Hitchcock is in his very best form creating hypnotic scenes and a general sense of unease and dread in even the most banal of situations. He is aided in this by the wonderful score of Bernard Herrman. A particular favourite of mine is the extended (largely silent) segment where Stewart follows Novak for the first time. Nothing much happens, but the atmosphere of these scenes is enough to keep you on the edge of your seat!

One of the all-time greats. They definitely don't make them like this anymore.
So...where is the masterpiece I've heard so much about?
(Spoilers. My advice: read them and save 2 hours of your life.) I watched "North by Northwest" not too long ago, and found it to be a grueling chore; Hitchcock spun a continually jerky screenplay into an equally jerky, emotionless film. Cary Grant was completely miscast as the wisecracking wrongfully accused, and James Mason was utterly wasted in the role of the heavy. I picked up "Vertigo" based on the recommendation of a coworker, and while I went in aware of the film's highly-esteemed reputation, I tried not to let that influence my opinion.

Turns out it wasn't a problem at all. For all its glowing praises, "Vertigo" is an incredible bore, actually a more grueling view than "North by Northwest." Once again, Hitchcock spins a convoluted--and, quite frankly, uninvolving--plot well past its welcome: retired P.I. Jimmy Stewart (warbling more than a turkey) is enlisted by a wealthy industrialist to find out what's eating his eerily remote wife (Kim Novak); when said wife commits suicide, Jimmy spies a female who is a dead ringer for the deceased; he becomes involved with the doppleganger, only to discover that she is the same woman, who was the co-conspirator/lover in the industrialist's scheme to off his wife. The End.

"Vertigo" would have been better titled "Slow-Go," as it stretches the very fabric of celluloid to its breaking point--the whole story feels padded, which wouldn't be so bad if the dialog were interesting and the characters not so lethargic. But Stewart's neurotic, obsessive detective had me nodding less than an hour in, and Novak's drugged delivery didn't help, either. That the duo possess no chemistry is the ultimate kiss of death for this pseudo-noir.

The film only comes to life when Hitchcock shows off his then-innovative (now dated) technical flourishes, as illustrated in the disorienting 'vertigo' POV shots, and an out-of-the-blue dream sequence that doesn't serve any discernible plot function, but is interesting to watch.

Overall, though, "Vertigo" is uninteresting to the point of tedium. As of late, I have been wondering whether Hitchcock was really all he was cracked up to be (I love "Psycho" and "Frenzy"), or if, like Stanley Kubrick, he merely caught the eye of those pretentious lovers of style and technique, and spun a legacy from it...
A valiant, but flawed effort by The Master (Possible Spoilers)
Vertigo is a good movie by a great director. Viewing Vertigo several times recently, and reading Dan Aulier's brilliant in-depth look at the making of this movie, I am at a loss to explain what I see as a vastly hyperbolic reaction to this movie by many people both in the realm of professional critics and posters on IMDb. This is not Hitchcock at his best, although I do believe it could have been. True, Hitchcock was at his peak in this period, but there are enough flaws in Vertigo to bring this potential masterwork down several notches.

The first problem in Vertigo lies with the story's failure to establish Scottie Ferguson. We first meet Scottie as he fails to make the rooftop leap and is hanging by a gutter of a building several dozen feet from the ground. After this we see him making his decision to retire from police work. The audience is deprived of any referent to the type of person Scottie was before the incident on the rooftop. This failure to establish the character and set a benchmark to measure his return by in the closing minutes of the film deprives the audience of a vital connection to any character. But this problem could have easily been overcome had the third fatal flaw, which I will take up soon, been avoided.

The second problem in Vertigo is a decision by Hitchcock and George Tomasini, the editor, to insert a scene shortly after Scottie meets Judy that reveals all of the secrets the story holds. This throws away the element of suspense that might have had audiences on the edge of their seats during the final part of the movie, unable to relax even at the moment of revelation for Scottie's character as the movie would sweep them up and hurl them through the roller-coaster ride that the climax of the movie should have been. But I think Hitchcock and company made the decision as a direct result of an even earlier and worse mistake.

The third, and most glaring, mistake Hitchcock made with Vertigo was in the casting. Most of the cast does work ranging from passable to outstanding, with one notable exception: Jimmy Stewart. In Aulier's account of the Vertigo project he details how Stewart came to star in this movie, which had a lot more to do with the desires of Lew Wasserman, agent to both Stewart and Hitchcock, than good judgment. Jimmy Stewart was the wrong man for this role, and Aulier recounts that Hitchcock himself blamed Stewart for Vertigo's dismal showing at the box office. Hitchcock concluded that Stewart was too old for the part and refused to cast him in North by Northwest because of this. But I don't think Stewart's age was the real hindrance here, I think Jimmy Stewart tried to step way beyond his range as an actor and falls flat in certain key scenes. Mr. Stewart does a passable job in the first half of the movie, and is quite believable as the ex-detective brought low by his vertigo-inducing acrophobia. The first real hint of trouble comes in the last scene of the first half, Scottie sits in a sanitarium incommunicado and withdrawn as his stalwart friend Midge tries to engage him in conversation. Stewart's playing of this borders on the comedic with a deer-in-the-headlights gaze that calls to mind one of the Warner Brother's toons after being conked on the head rather than a man ravaged by guilt. It drags the scene down so much that Barbara Bel Geddes is left to carry it on her own, and she does make a valiant attempt but her efforts are hindered by Stewart. From this point forward the movie enters its most crucial phase and Stewart's ineffectualness grows more obvious in each successive scene. In the scene where Scottie tries to convince Judy to change her hair color Stewart's phrasing and pitch are semi-comedic. The lack of chemistry between the two leads brings the haunting scene of Judy's emergence from the bathroom to a crashing halt as Stewart is unable to infuse his performance with even a modicum of passion. But a few minutes later Stewart's performance goes completely south as the movie's climatic moments unfold. Scottie is righteously angry as the truth dawns on him, but, unfortunately, Stewart does not play angry well at all. His maniacal and slightly feminine delivery from this point on detracts from what could have been cinematic magic. At a point in the movie where Scottie should have regained his senses and his sense of manhood his tone and pitch shrilly foreshadow the strident tones of Mrs. Bates in Hitchcock's next project.

No doubt my remarks here will be met with disdain by some of the film's more ardent boosters on IMDb. I shall join the ranks of the great unwashed heathens who do not understand great cinema nor Vertigo's rightful placement at the apex of that pyramidal structure. I do appreciate Hitchcock's use of color as subtext in the film (I am particularly fond of the color and lighting shifts in Midge's apartment when she allows Scottie to view her painting). I also appreciate and easily grasp the undertones of Hitchcock's own obsessive behavior with the leading ladies of his work, but wonder if that subtext was intended as dramatic irony or whether Mr. Hitchcock was even aware of the mirror he was peering into. But, the brilliant touches of a master artist are not enough to make up for what this film lacks. Hitchcock was indeed The Master, and his body of work stands above a field of mostly mediocre efforts that his peers were turning out, and even today not one exists who can approach his mastery, but to suggest that Vertigo is the cinematic equivalent of Leonardo's Mona Lisa is ludicrous and undeserved.
Hitchcock's masterpiece? Never
In a year when there has been some odd films , films that are not easy to explain ( Shutter Island , Black Swan , Inception etc..) , i thought i was on safe ground watching a good old fashioned Alfred Hitchcock thriller but little did i know this is just as unexplainable as any of those films i have named . Vertigo is sometimes called " Hitchcock's masterpiece" but i don't see it. This is a long ponderous movie that makes very little sense and treats the viewer with contempt. Jimmy Stewart is watchable but his character is not very believable and the relationship with Kim Novak is confusing and annoying. I much prefer Rear Window or Psycho to this movie and to be perfectly honest i couldn't wait for it to finish.
A fascinating psychological suspense masterpiece which worked on the audience on several levels...
Scottie Ferguson is a retired detective with a paralyzing fear of heights… He had quit detective work after he sees a colleague falling to his death, and nearly he looses his own life at the same time while chasing a crook across some San Francisco rooftops…

An old college friend gives him the job of following his blonde wife Madeleine who had some kind of mental problem or might even be possessed from beyond the grave by a figure from the past whose portrait she stares at in a museum…

Scottie follows Madeleine around San Francisco and when she tries to drown herself in San Francisco Bay, he rescues her and falls promptly in love with her… But Scottie' s vertigo made him powerless to save her when she climbed to the top of the bell tower at the mission at San Juan Batista, and jumped from the tower to her fatal end…

Scottie must spend the second part of the movie regaining from the trauma… His loyal ex-fiancée Midge helps him overcome his psychological torment…

One year later, completely recovered from his nervous breakdown, he meets a red-haired woman who seems the living image of Madeleine...

Stewart gives a terrific performance of a man recognizing his own limits, suffering by his acrophobia... When he is given the chance to pursue this enigmatic woman, his boring life takes on new meaning... He is drawn into her romantic obsession with the past… Madeline makes him feel important in her life… This is something totally new to his world: a lovely straight-forward woman who takes him into a haunting dream... When he fails to keep her alive, his real world was suddenly shattered…

Stewart delivers an accurate portrait of an annoyed human being searching for the unattainable… He is a pragmatic man dealing with events in the light of his intuition…

Kim Novak is so delicate as Madeleine… Her performance is skilled and highly refined… She is a pretty woman, very sensitive, not sensual, yet conscious of her charm and magic…

This fascinating suspense masterpiece reveals something new with each viewing…

Note: Hitchcock appears after eleven minutes of the beginning of the film, walking past a Shipbuilding Co.
📹 Vertigo full movie HD download 1958 - James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones, Raymond Bailey, Ellen Corby, Konstantin Shayne, Lee Patrick - USA. 📀