Psycho delivered the shocks, North By Northwest the thrills and Rebecca the Oscar, but if one film can lay claim to the title of The Master’s masterpiece, it’s Vertigo.

A seamless combination of psychological mystery, twisted romance, surrealism and technical innovation, it’s the perfect embodiment of the Hitchcock motto: to mesmerise, unnerve and discombobulate.

In what was to be his last Hitch-up (his age was cited for the film’s lukewarm box office), Stewart plays former San Francisco detective John Ferguson, whose nickname ‘Scottie’ is never explained… unlike his early retirement, the result of a rooftop chase during which Scottie - paralysed by acrophobia – watched helplessly as a fellow officer fell to his death.

While his best friend Midge (Bel Geddes) helps him overcome both his condition and his guilty conscience, Scottie is contacted by Gavin Elster (Tom Helmore), an old college buddy who wants him to follow his wife Madeleine (Novak).

Gavin is driven not by suspicion but concern. It seems that Madeleine is possessed by the spirit of an ancestor who committed suicide; visiting her grave, returning to her old home, and gazing for hours at her portrait in an art gallery.

But the observer is forced to turn saviour when Madeleine throws herself into San Francisco Bay. Beguiled and now completely besotted, he vows to solve the mystery and end her psychological torment forever.

His endeavours meet with tragic success.

Months later, Scottie is a haunted man. But a chance encounter on the street suggests that history is about to repeat itself…

Having written the source novel for the twisty French classic Les Diaboliques, authors Pierre Boileau and Thomas Narcejac allegedly had Hitchcock in mind when they wrote the book D’entre les Morts (‘Back From The Dead’) on which Vertigo is based. Deception and obsession are on the agenda once again.

Often accused of treating actors like cattle, Hitchcock nevertheless brought out the best from his performers, particularly his leading ladies who were often cast for their (invariably blonde) looks over their acting ability.

The glacial Novak was never – and would never be - better than in her dual role here, while Barbara Bel Geddes may forever be remembered as Miss Ellie from Dallas, but her portrayal the loyal, loving Midge is a far worthier legacy.

And while Stewart may have been a tad long in the tooth to convincingly sweep Novak off her feet, this is still one of his most layered performances, encompassing guilt, sadness, and an obsession that verges on the pitiable.

It’s also impossible not to be seduced by Bernard Herrmann’s marvellous score and the superb use of locations in and around San Francisco.

On top of all this, the film opened a cinematic box of tricks which are still used today, from Hitch’s dizzying zoom in/pull back manoeuvre (capturing Scottie’s acrophobia) to artist John Ferren’s dream sequence, the influence of which can be seen in TV title sequences as diverse as Doctor Who and Mad Men.

Hitch freely admitted to plot developments that don’t quite add up and leaving the odd loose end (think back to the hotel). He called them ‘fridge moments’, because if he’d done his job right, viewers would be so absorbed they would be safely home before they worked them out.

But make no mistake, Vertigo represents The Master at the height of his powers.

Elliott Noble