Tuesday marks the 91st birthday for Kim Novak, the star of Alfred Hitchcock’s 1958 film Vertigo, who walked away from Hollywood over five decades ago.
“She’s spending her birthday having a picnic on her property with friends and lots of fudge,” says her longtime manager and close friend Sue Cameron.
Life is sweet these days for Novak, who lives quietly on the Oregon coast, surrounded by her beloved horses.
In honor of her 91st birthday, read on for an interview from 2021 in which Novak shared why she left Hollywood and found her true self.
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Over 50 years ago, Kim Novak, the enigmatic star of Alfred Hitchcock’s Vertigo, walked away from Hollywood. The woman who had once been the No. 1 box office draw in the world put her belongings in a van and drove north, first to Carmel, California and then two decades later to Oregon, to live her life as an artist.
“I had to leave to survive,” she tells PEOPLE. “It was a survival issue.”
“I lost a sense of who I truly was and what I stood for,” says Novak in a rare interview to talk about her new book, Kim Novak : Her Art and Life. published by the Butler Museum of American Art.
“I fought all the time back in Hollywood to keep my identity so you do whatever you have to do to hold on to who you are and what you stand for,” she explains.
“I’ve never done one of those tell-all books that they wanted me to do for so long, and I thought this is the kind of book I’d like to do,” she says of her art book. “Actually, I had written my autobiography and it was almost complete but I had a house fire and the house burned down and I made no copies. I just couldn’t go through it again because I had spent so much time. But it was okay because it was a catharsis just to do it.”
After starring in Picnic (1955) with William Holden, The Man With the Golden Arm (1955) and Pal Joey (1957), opposite Frank Sinatra, and Vertigo, with Jimmy Stewart, Novak was at the height of her career but still under the control of the studio.
As she writes in her book’s introduction, “I was both dazzled and disturbed to see me being packaged as a Hollywood sex symbol. However, I did win my fight over identity. I wouldn’t allow [Columbia Pictures chief] Harry Cohn to take my bohemian roots away by denying me my family name. Novak. I stood my ground and won my first major battle.”
Cohn wanted her to change her name to Kit Marlowe, telling her that audiences would be turned off by her Eastern European roots. She refused. In the late ’50s, she defied him again when she began dating singer Sammy Davis Jr. against his wishes and she fought to live her life as an independent woman.
“There was constant pressure to be seen and not heard,” writes Novak, “especially if you had a pretty face.”
“In Hollywood a lot of people assume who you are, because of the character you play, but also just because of who they expect you to be, how they expect you to dress,” she says. “It influences you because if you’re in some gorgeous sequined gown, you can’t run along the ocean and run on the beaches.”
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“I kept feeling like I was going deeper and deeper, lost in almost like a quicksand, where it’s swallowing you up, your own personality, and I’d started to wonder who I am,” she explains. “I realized needed to save myself.”
She found peace living and painting in the Rogue River Valley of Oregon and notes, “I needed the Pacific Ocean to inspire me, the animals, the beauty.”
“I wanted to live a normal life and a life with animals,” says the actress, who had always loved drawing and painting as a young girl growing up in Chicago. She was awarded two scholarships to the Chicago Art Institute before she was spotted by a talent scout on a trip to L.A. and her life changed course.
Once she left Hollywood, Novak returned to her twin passions: art and animals. “My teachers were the animals, not just dogs and cats, but other animals, horses and llamas, whom you have to meet half way, because they’re not ready to accept humans. I had to learn to win them over,” she says. “They understand a person who’s genuine so I had to become more real and that made me rely on my inner self — and that also encouraged me to paint. Everything seemed to flow from that.”
“You learn how to count on, not how you look, which is a big thing as a movie star, especially if you were recognized because of how you look,” she adds. “That can be a difficult thing when you change — but looks had nothing to do with it.”
She met second husband, Robert Malloy, an equine veterinarian, in the late ’70s, when he paid her a house call to treat one of her Arabian horses. She called him her “soul mate.” He died last December.
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“I don’t feel 87,” says Novak. “I don’t keep tract of the time. If I did, I’d be an old lady and I’m not an old lady. I’m still riding my horse. I stay as healthy as I can.”
In 2012, Novak revealed she’d been living with bipolar disorder. “I don’t mind being open about who I am because these are all characteristics which make you who you are, especially as an artist,” she says. “Now, of course, I have medication for it but the best medicine of all is art.”
She’s proud of her favorite films, including Vertigo and Bell, Book and Candle (1958), and has fond memories, especially of her friend and costar Jimmy Stewart. Says Novak: “He didn’t let Hollywood change who he was.”
“People can remember me in movies but I want them to see me as an artist,” says Novak, whose paintings were exhibited at a 2019 retrospective at the Butler Museum in Youngstown, Ohio. “What’s great about painting is, you become the director too. No one’s telling you how to do it. You get to direct the whole thing.”
“I’ve been influenced a lot by Hitchcock in my work because he did mysteries and at first glance, I want my painting to be a mystery,” she says. “I love being the director, the producer, the actor in my paintings.”
“This is who I am. I want people to see I was not just a movie star.”
Looking back, Novak says, “I’m so glad I didn’t do the tell-all book, where you write all about your love life. That wasn’t who I was. This book tells who I am. I just needed to be free.”
I Opened My Garage to a Homeless Woman—You Won’t Believe What I Found When I Walked In Unannounced
When a rich man, who feels emotionally distant, gives shelter to Lexi, a homeless woman, he becomes intrigued by her strength. Their unexpected friendship starts to grow—until one day he walks into his garage without knocking and finds something shocking. Who is Lexi really, and what is she hiding?
I had everything money could buy: a big house, fancy cars, and more wealth than I could ever use in a lifetime. Yet, inside, I felt an emptiness I couldn’t fill.
I had never had a family since women always seemed to want me only for the money I got from my parents. At sixty-one, I often wished I had made different choices.
I tapped the steering wheel absentmindedly, trying to shake off the familiar weight on my chest. That’s when I spotted a messy woman bent over a trash can.
I slowed the car, unsure why I even bothered. People like her were everywhere, right? But there was something about the way she moved, her thin arms digging through the garbage with a grim determination that tugged at something inside me.
She looked fragile but fierce, like she was holding on to life by sheer willpower.
Before I knew it, I had pulled over. The engine hummed as I rolled down the window, watching her from the safety of my car.
She looked up, startled. Her eyes widened, and for a moment, I thought she might run. But she didn’t. Instead, she straightened up, brushing her hands on her faded jeans.
“Do you need some help?” I asked, my voice sounding strange to me. I wasn’t the kind of person to talk to strangers or invite trouble into my life.
“You offering?” There was a sharpness in her voice, but also a tiredness, like she’d heard every empty promise before.
“I don’t know.” The words tumbled out before I could think. I stepped out of the car. “I just saw you there, and it didn’t seem right.”
She crossed her arms over her chest, her gaze fixed on mine. “What’s not right is life.” She let out a bitter laugh. “And cheating, no-good husbands in particular. But you don’t seem like someone who knows much about that.”
I winced, even though I knew she was right.
“Maybe not.” I paused, unsure how to continue. “Do you have a place to go tonight?”
She hesitated, her eyes darting away for a second before locking back onto mine. “No.”
The word hung in the air between us. That was all I needed to hear.
“Look, I have a garage. It’s more like a guest house. You could stay there until you get back on your feet.”
I expected her to laugh in my face, to tell me to go away. But instead, she blinked at me, the edges of her tough exterior starting to crack.
“I don’t take charity,” she said, her voice quieter now, more vulnerable.
“It’s not charity,” I replied, though I wasn’t entirely sure what it was. “It’s just a place to stay. No strings attached.”
“Okay. Just for a night,” she replied. “I’m Lexi, by the way.”
The drive back to my house was quiet. She sat in the passenger seat, staring out the window, her arms wrapped around herself like a shield.
When we arrived, I led her to the garage-turned-guest-house. It wasn’t fancy, but it was enough for someone to live in.
“You can stay here,” I said, pointing to the small space. “There’s food in the fridge, too.”
“Thanks,” she muttered.
Over the next few days, Lexi stayed in the garage, but we saw each other for meals. I couldn’t quite put my finger on it, but something about her pulled at me.
Maybe it was how she kept going despite everything life threw at her, or perhaps the loneliness in her eyes, which mirrored my own. Maybe it was just the simple fact that I didn’t feel so alone anymore.
One night, as we sat across from each other at dinner, she began to open up.
“I used to be an artist,” she said softly. “Well, I tried to be. I had a small gallery, a few shows… but it all fell apart.”
“What happened?” I asked, genuinely curious.
She laughed, but it was a hollow sound. “Life happened. My husband left me for a younger woman he got pregnant and kicked me out. My whole life unraveled after that.”
“I’m sorry,” I muttered.
She shrugged. “It’s in the past.”
But I could tell it wasn’t, not really. The pain was still there, just below the surface. I knew that feeling all too well.
As the days passed, I found myself looking forward to our conversations.
Lexi had a sharp wit and a biting sense of humor that cut through the gloom of my empty house. Slowly, the hollow space inside me seemed to shrink.
It all changed one afternoon. I had been rushing around, trying to find the air pump for one of my cars. I barged into the garage without knocking, expecting to grab it quickly and leave. But what I saw stopped me cold.
There, spread across the floor, were dozens of paintings. Of me.
Or rather, grotesque versions of me. One painting showed me with chains around my neck, another with blood pouring from my eyes. In the corner, there was one of me lying in a casket.
I felt a wave of nausea wash over me. This was how she saw me? After everything I’d done for her?
I backed out of the room before she noticed me, my heart pounding.
That night, as we sat down for dinner, I couldn’t shake the images from my mind. Whenever I looked at Lexi, all I could see were those horrific portraits.
Finally, I couldn’t take it anymore.
“Lexi,” I said, my voice tight. “What are those paintings?”
Her fork clattered to the plate. “What are you talking about?”
“I saw them,” I said, my voice rising despite my efforts to stay calm. “The paintings of me. The chains, the blood, the coffin. What the hell is that?”
Her face went pale. “I didn’t mean for you to see those,” she stammered.
“Well, I did,” I said coldly. “Is that how you see me? As some monster?”
“No, it’s not that.” She wiped her eyes, her voice shaky. “I was just… angry. I’ve lost everything, and you have so much. It wasn’t fair, and I couldn’t help it. I needed to let it out.”
“So you painted me like a villain?” I asked sharply.
She nodded, shame etched on her face. “I’m sorry.”
I sat back, letting the silence stretch between us. I wanted to forgive her. I wanted to understand. But I couldn’t.
“I think it’s time for you to go,” I said flatly.
Lexi’s eyes widened. “Wait, please—”
“No,” I interrupted. “It’s over. You need to leave.”
The next morning, I helped her pack her things and drove her to a nearby shelter. She didn’t say much, and neither did I. Before she stepped out of the car, I handed her a few hundred dollars.
She hesitated but then took the money with trembling hands.
Weeks passed, and I couldn’t shake the feeling of loss. Not just because of the disturbing paintings, but because of what we had before. There had been warmth and connection — something I hadn’t felt in years.
Then, one day, a package arrived at my door. Inside was a painting, but this one was different. It wasn’t grotesque or twisted. It was a serene portrait of me, captured with a peace I hadn’t known I possessed.
Tucked inside the package was a note with Lexi’s name and phone number scrawled at the bottom.
My finger hovered over the call button, my heart beating faster than it had in years. Getting worked up over a phone call felt silly, but there was so much more riding on it than I wanted to admit.
I swallowed hard and hit “Call” before I could second-guess myself. It rang twice before she picked up.
“Hello?” Her voice was hesitant, like she sensed it could only be me.
I cleared my throat. “Lexi. It’s me. I got your painting… it’s beautiful.”
“Thank you. I wasn’t sure if you’d like it. I figured I owed you something better than… those other paintings.”
“You didn’t owe me anything, Lexi. I wasn’t exactly fair to you, either.”
“You had every right to be upset.” Her voice was steadier now. “What I painted — those were things I needed to get out of me, but they weren’t really about you. You were just… there. I’m sorry.”
“You don’t need to apologize, Lexi. I forgave you the moment I saw that painting.”
Her breath hitched. “You did?”
“I did,” I said, and I meant it. It wasn’t just the painting that had changed my mind; it was the feeling that I had let something meaningful slip away because I was too scared to face my pain. “And… well, I’ve been thinking… maybe we could start over.”
“What do you mean?”
“I mean, maybe we could talk. Maybe over dinner? If you’d like.”
“I’d like that,” she said. “I’d really like that.”
We made plans to meet in a few days. Lexi told me she used the money I gave her to buy new clothes and get a job. She was planning to move into an apartment when she got her first paycheck.
I couldn’t help but smile at the thought of having dinner with Lexi again.
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