Kim Novak, the iconic screen legend, made a rare and significant return to the public eye in September 2024 at the Venice Film Festival, where she was honored with the Golden Lion for Lifetime Achievement. This appearance coincided with the debut of a new documentary, “Kim Novak’s Vertigo,” directed by Alexandre O. Philippe, a project Novak felt was “meant to be” and an opportunity to reflect on and “wrap up” her extraordinary life and career.

Novak’s journey to stardom began inadvertently at 21 when she left Chicago for Los Angeles seeking modeling jobs. She was swiftly “discovered” by Columbia Pictures chief Harry Cohn, who notoriously changed her name from Marilyn and often referred to her as “the fat Polack.” Despite these early challenges, Novak became a Hollywood star and, by the late 1950s and early 1960s, was the world’s top box office draw. Her filmography includes classics such as Joshua Logan’s “Picnic” (1955), Otto Preminger’s “The Man With the Golden Arm” (1955), George Sidney’s “Pal Joey” (1957), and, most notably, Alfred Hitchcock’s “Vertigo” (1958). In “Vertigo,” Novak played dual characters, a role she considers the role of her lifetime, which profoundly impacted her. Beyond acting, she established her own production company and went on strike to renegotiate her salary, showcasing an early rebellious spirit.

After approximately a decade in the spotlight, Novak made the pivotal decision in 1966 to walk away from Hollywood at the height of her fame. She sought a simpler life in Oregon, dedicating herself to painting and her horses, a move Venice Film Festival chief Alberto Barbera described as celebrating “a star who was emancipated, a rebel at the heart of Hollywood.” This departure was not an act of surrender but a conscious choice to maintain her identity against an industry that often sought to mold her. Novak frequently described her beauty as a “crown of thorns,” viewing it as a handicap in Hollywood because it led to roles focused on appearance rather than emotional depth. This love-hate relationship with Hollywood is a central theme explored in the documentary.

The documentary, “Kim Novak’s Vertigo,” is not a conventional chronological biopic but an intimate portrait of a human being reflecting on an extraordinary career. Director Alexandre O. Philippe initially approached Novak about a film focusing on the final sequence of “Vertigo,” but it evolved into a broader personal reflection. Philippe, known for cinema-centric documentaries like “78/52” (deconstructing “Psycho’s” shower scene), developed a palpable affinity with Novak, making their interviews discursive and illuminating. The film adopts a “spiral structure,” repeatedly returning to the theme of Novak’s departure from Hollywood, each time revealing a different facet of her reasons. Novak reveals deeply personal insights in the film, including her father’s disapproval of her success and her mother’s empowering mantra, “You are the captain of your own ship,” which profoundly influenced her self-reliance.

A poignant segment of the film involves Novak inviting Philippe to her attic, which housed a treasure trove of photographs, diaries, and scrapbooks. During this process of discovery, they unearthed long-forgotten items, including the iconic stiff gray suit she wore as Madeleine Elster in “Vertigo.” Novak, who initially disliked the suit, found it had softened over the decades. This moment served as a powerful metaphor for her own life experiences, making her realize “how I probably got softer in my years, too, through experience.” She reflected on how time can alter perception, leading to a deeper appreciation for life as one approaches mortality.

Novak’s re-emergence into the public eye in 2014 as an Oscars presenter was met with both delight from classic film buffs and cruel snarking, including from Donald Trump, regarding her physical appearance. Novak responded graciously, condemning bullying and ageism, which further underscored her resilience and the enduring misogyny she experienced. Her manager and close friend, Sue Cameron, highlights Novak’s continued vitality at 92, noting her daily workouts, horseback riding, and active life on her 13-acre ranch in Oregon. The documentary, executive produced by Cameron, was partly conceived to give Novak “one more pow in her life,” offering a platform for her personal truth and legacy. Philippe’s film lovingly portrays Novak as a profoundly expressive, thoughtful, and engagingly eccentric figure who, having willingly navigated the madness of movie stardom, offers a rare first-hand window into Hollywood’s golden age and a life lived on her own terms.