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This article attempts to read Alfred Hitchcock's masterpiece Vertigo(1958) in an approach inspired by a Marxist insight that the pursuit of desire satisfaction is class-dependent. This kind of socio-political reading of the film has relatively been neglected, provided that criticism of Vertigo has been dominated by two approaches, auteurist and psychoanalytic. While most criticisms of the film have focused on the male lead's desire and its trajectory, this article pays attention particularly to the female lead Judy's desire and class situation in order to unravel the hidden dimensions of class structure which the film rarely reveals. Judy Barton is a very problematic character in that despite her complicity with Elster's scheme to murder his wife Madeleine to take her fortune, she falls in love with ex-detective Scottie Ferguson who is victimized in the murder scheme because he is infatuated by Madeleine who is in reality a fraud played by Judy. Although the film revolves around Scottie and seldom tells of Judy, it is known from some verbal and visual information and her behavior that Judy wishes to be the object of Scottie's desire. Her 'puzzling or duplicitous' behaviors, to name a few, to wish to be loved once again by Scottie despite the fact that she has exploited his weak point of acrophobia for the successful execution of the crime and to allow him to make her over to Madeleine, are motivated by her profound desire to escape her being of non-object of Scottie's desire and to be his object of desire. To be his love object Judy eventually desires herself to be Madeleine, a bourgeois lady, denying her social class of a sales girl at Magnin's Department Store. Her desire, however, is full of contradiction, in that she wants to totally erase her 'criminal past' and to be Madeleine, a fabricated ideal image of woman played by herself. Her project to reclaim his love necessarily fails when Scottie discovers her part in Elster's crime. Given that she might be leading an alienated and lonely life as a working-class woman in an unfamiliar city, her improbable project to get Scottie's love with impunity can be understood as the result of her class-dependent wish to live in a caring and intimate relationship, not of her evil character. Viewed from this perspective, Vertigo is a film with profound social and political implications.