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Title: Vertigo
Year: 1958
Country: USA
Language: English
Genre: Mystery, Romance, Thriller
Director: Alfred Hitchcock
Writers:
Samuel A. Taylor
Alec Coppel
Pierre Boileau
Thomas Narcejac
Cast:
James Stewart
Kim Novak
Barbara Bel Geddes
Tom Helmore
Ellen Corby
Konstantin Shayne
Henry Jones
Rating: 8/10

About two months ago, when Sight & Sound magazine announced their critics polls of my film of all time (a referendum carried out every decade), VERTIGO has unanticipatedly usurped CITIZEN KANE’s seemingly invincible titleholder, which as a matter of course, has ensured many discordant responses, so it seems to be a perfect time to watch Hitchcock’s (at least currently) crème de la crème.

I eschewed any possible spoilers before embarking on the film (a BluRay set of 1996 restored version), it has been fully testified (regardless of the faintly drawn-out stalking sequences, great framing nevertheless) that a stirring frisson is duly on the course of solving the absorbing doppelgänger riddle.

Visually there are some ground-breaking craftsmanship in the film, from the opening eye-focusing montages to the recurrent vertigo motif, even an abrupt cartoon snippet during the hair-raising nightmare scenes (which I estimate should be credited to the restore department). But the magnetic gravitation is the enigmatic pleasure from the perspective of a mutual love affair between a well-clad former detective and an equally enigmatic married woman (not the generic femme fatale brand though) whose motivation has been tainted since the very beginning. So in spite of that the set-up is almost immaculately deployed (until a rather second-rate glitch to culminate the finale), but one thing might not be so popular as it was half a century ago, the shifting role of female in the society, Kim Novak’s character’s vulnerability and fatalism infatuation just doesn’t feel sound enough to elevate the plot onto the final peak. Partially it is also the performers’ problem, Novak’s glacial distance cannot pull herself through as a deft actor (neither for the scheme nor for the film), so it descends to a mere sexual impulse from James Stewart’s standpoint, which I don’t suppose is Hitchcock’s idea. Also Stewart’s paranoid “minute copy” compulsion does mar some empathy toward him.

The film at bottom is a two-hander, so Barbara Bel Geddes and Tom Helmore are the only supporting roles which are all underdeveloped, particularly, Bel Geddes’ s one-sided affection has a buoyant start but completely sidelined after her inappropriate painting incident, leaving an unusual loose end.

So the film has its old-fashioned value of love and done an acute anatomy of the hallucinatory symptoms when one falls for a feigned personality (the torture is bilateral), but calls it “the best film ever” is a way too grave grandstanding which does no good to any films at all (even CITIZEN KANE has to pay its price), but I daresay 10 years later, VERTIGO will add another title under its belt, “a one-time champion of the best film of all time”.

Citizen Kane was the perfect “greatest movie of all time” for a period when cinema history was young and limited and could be fully grasped. CK could be placed in a context in which it was fully understood what came before it and what came immediately after it, and it’s importance was obvious. But now cinema has become too big and diverse to grasp from a singular point of view. It’s a mystery with too many meanings. So it’s “greatest movie of all time” should also be a mystery with too many meanings: Vertigo.

One of the many things that made Hitchcock such a great director is that he did not just stick to the same formula time after time; all of his best movies have their own unique feel and characteristics. “Vertigo” is particularly distinctive, both as a complex story filled with suspense, and as a fascinating study in psychological tension. While it lacks the humor of some of Hitchcock’s other masterpieces, and sometimes moves rather slowly, it is unforgettable, and a great achievement by the director and his cast.
If you have never seen it, you will enjoy it more if you do not know too much about the plot, although the actual story is somewhat secondary to the ways that the characters are tested and their weaknesses exposed by the various events. Hitchcock uses a complicated story, interesting characters, lavish visual detail, and deliberate pacing, plus a fine musical score by the incomparable Bernard Hermann, to produce a mysterious, almost unearthly, atmosphere. The tension rarely lets up, and the viewer is caught up completely in it, at times almost to the point of discomfort. It’s the kind of film that repays careful attention, as almost every moment is filled with significant detail.
There are also some great acting performances. Jimmy Stewart is outstanding in a role far different from his usual screen persona. He enables the viewer to sympathize completely with him, even as we cringe at many of his character’s actions and decisions. Kim Novak is completely convincing in a difficult dual role, and the movie would not have been as compelling without her fine performance. The rest of the cast all have much smaller roles, but are all quite good too, especially Barbara Bel Geddes as Scottie’s (Stewart’s) old friend, who provides important insight into Scottie’s character.
“Vertigo” is a classic by any standard. It’s a must-see that remains just as impressive with each viewing.

Vertigo, despite being hailed as Hitch’s masterpiece does not rank among my favourite films by the master of suspense. The story is quite interesting, although you can see the twists coming by a mile. The movie failed at box office and was shunned by critics. I would not agree that this comes down to James Stewart’s age as so many people claim but that the love interest between him and Novak is not believable. However, in my opinion this is due to Kim Novak’s strange performance, especially in the beginning of the film, when her character is “supposed” to be in a state of mental disorder. This kind of throws all the creditability of the character especially when it comes to emotional connection between her and Stewart. The direction was good, although the episodes of James Stewart trailing Novak are quite long and become a bit boring after a while, lacking interesting story elements or slick art direction to make up for. I am not sure why Hitch decided to set the Film in San Francisco instead of Paris, the latter would have suited the whole atmosphere better. My Kudos goes out to Hitch for the great ending which hit my personal taste like the hammer hits the nail, but it might not be everybody’s cup of tea. There was essentially no important supporting cast which is a shame. A best friend would have done the main character good or put more focus on Stewart’s other suitor, as played by Barbara Bel Geddes, her character and the role it plays pretty much vanishes halfway into the movie. I liked the psychedelic sequences, a vanguard of the decade to come and they were perfect means to convey Stewart’s mental state. Still, not my favourite Hitchcock and while it still stands tall over your usual thriller, id recommend many of his other movies first.

Although handsomely realised, this is a strangely unmoving and unconvincing film that dips its toe into the shallows of psycho-drama, but never goes anywhere near exploring them with any degree of certainty or conviction. Instead we have a series of motifs and set pieces that are mounted with great skill but reveal a central problem with the film: ravishing technical accomplishments almost glued together with a sticking plaster of a narrative. After all, what I remember of the film long after seeing it is the gorgeous widescreen composition, the colour palette and the almost symphonic swellings of the score. What confronts me when re-viewing the film is an often static and frequently unconvincing story, floridly realised on a scale the slim plot-threads cannot entirely stand (the sub-story with Mitch whimpers out and never returns, which is a shame), and is hampered by a somewhat stodgy middle section. It gets by with its sheer directorial verve and confidence, but the great moments – and there are plenty of them – are nearly all visual frissions and not the cod-psychological themes of obsession, madness and fetishism (even this is quite reticent) that tend to float on the surface of an otherwise rollicking pot-boiler.

Vertigo is a movie that I’ve always had trouble with. In many ways it is one of Hitchcock’s greatest films, but I can certainly see why he didn’t like it all that much. I agree that James Stewart was incredibly miscast, mainly due to his very limited range as an actor. He was never exactly known for his dark side, honestly he’s just too earnest of a person to pull it off. However, he did the best he could and still managed to give his darkest performance this time around (it’s also a guilty pleasure of mine to see him going crazy). San Fransisco is quite possibly the best aspect of the film to me because Hitchcock shoots it so beautifully. It looks like a dream, the pastel look is amazing on the eyes. The plot is also one of the better one’s Hitchcock dealt with. No, it’s not as twisted as De Palma’s semi-remake Obsession, but for 1959 you have to give it credit for being really demented. It’s not my favorite film from the master, but it is a hidden masterpiece.

This might be #2 on TSPDT’s 1000 greatest films list, but it’s not even close on my list. Kim Novak’s performance was frighteningly lackluster, and the film itself showed none of the narrative innovation or audacious brilliance of Hitchcock’s superior “Rear Window.” The only intriguing relationship in the film, that between Jimmy Stewart’s character and his friend and one-time lover “Midge”, played by Barbara Bel Geddes, seems to have been all but forgotten on the cutting room floor.

Hitchcock had always been a master of film. He could create and assemble film sequences more successfully than anyone before or since (with the possible exceptions of Eisenstein or Spielberg). However, Vertigo marks the moment where he grew beyond showmanship and entertainer to autuer in the classic sense. Even today, it’s a remarkably adult film, with its themes of obsession and even necrophilia. Jimmy Stewart, already a master at subtly subverting his own nice guy image, goes as close to unlikable as he ever got, playing the guilt-ridden, obsessed, mentally shaky Scottie Ferguson. From the masterful opening titles through countless perfect sequences to the dark, fatalistic, downbeat ending, Vertigo remains one of the finest achievements from one of the finest directors in the history of film.

(Friday, May 29, 2009 10:10pm)

It is hard to explain what the main genre of Alfred Hitchcock’s “Vertigo” after seeing it for the first time. The first half of the film is no doubt a mystery, with James Stewart following and chasing after Kim Novak, trying to find every answer Stewart can get. Hitchcock’s brilliant directing, powerfully conveys this mystery into a romance film. Of course this movie is a thriller/suspense as well because it wouldn’t be Hitchcock’s film if didn’t have these genres. Vertigo is a very intense picture with every perfect details attached to it, and its countless classic moments. After i watched the film, I could not get Kim Novak’s beautiful face out of my mind. I guess I fell in love with her as much as Stewart’s character did. Vertigo is a must see for everyone. No doubt this movie should be on top lists of every film collectors. It’s a beautiful but extremely melancholy masterpiece not to miss.9.5/10

It’s no secret Hitchcock loved a blonde in the frame, had an Englishmen’s ability to fetishise sex and liked to add a layer of faux Freud when the opportunity arose. Vertigo sees Hitch at the top of his game in all areas. Jimmy Stewart is Scotty, a San Fran detective who found a nasty way to discover he had a fear of heights, which caused him an injury leading to his retirement. Scotty is an old fashioned guy who finds identity and worth in work, but is now at a loose end. We know he finds no such satisfaction with women as early on it’s clear he’s never found one to match his ideal. Hitchcock oversees the introduction of a woman for Scotty to obsess over, but with delicious irony emasculates Scotty in the process.

Kim Novak plays the blonde (Madeleine), the wife of an old school friend of Scotty’s. He’s asked to follow her and report back, as her husband believes she’s possessed by the spirit of a dead woman who died tragically 100 years before. Scotty is asked the key question
‘Do you think it’s possible for a living person to be possessed by the spirit of a dead person?‘. He is skeptical to say the least, but upon seeing her, it’s obsession at first sight and he agrees to take the job. In a sequence that highlights Bernard Hermann’s lovely score, Scotty follows Madeleine and starts to put the puzzle together. She does seem connected to the dead Carlotta in mysterious ways. Scotty foils a suicide attempt and gets up close and personal with Madeleine in his apartment. He starts to behave more like a suitor than a Jake on a job and the lines get really blurred when Madeleine reciprocates.

So far Hitchcock has served up Jimmy Stewart, Mr Every-niceguy-man in a way that has him abandoning his scruples, he is after all pursuing an adulterous affair, and rejecting the perfectly acceptable nice-girl option (Barbara Bel Geddes) who is left stewing in the background. How did he get away with it? and the best is yet to come. Scotty doesn’t abandon logic however much his heart is ruling his actions. He tells Madeleine that there’s a reason for everything if she’ll only look for it. He tells her she’s not mad, even though she fears she is as it runs in the blood from Carlotta, and she’s not possessed. Just as they declare eternal love for each other he loses her as she fulfils her spirit/blood ordained fate.

If this is not enough Hitchcock then proceeds to twist the knife. The shock of not solving the situation with reason and workcraft, Scotty’s tools of trade and identity shake his world to the core. He retreats into his shell, not sure of his laws of certainty anymore. He’s awoken from his trance, by a chance encounter with Madeleine’s double, Judy. The obsession starts again and Scotty re-fashions Judy in the process, until she is the reincarnation of his Madeleine. Hitch continues to neuter Scotty, showing him dressing her like a doll, making her change her hair colour, ‘it can’t matter to you’! he yells at her, a brave statement indeed! This is the payoff, as Judy emerges from a shimmering green haze as Madeleine Scotty sees that the dead can inhabit the soul of the living. Reality comes thudding back, just as the happy couple seem set for lasting bliss. Picking up a clue a 10 year old would spot the penny drops, and Scotty takes Judy to the place of Madeleines death to shake a confession out of her. Scotty watches impotently once again, as the godess/ideal takes on the last aspect of Madeleines spirit and follows her path to the graveyard.

A bold ending and jolt to the viewer. Hitch has taken a stock character, and shown him his skill is useless when it comes up against the beauty and mystery of love and deceit. Scotty watches as Judy is possessed by the real Madeleine, the one he forced upon her with his obsession. He can’t solve the puzzle by logic, it’s solved for the viewer by a flashback and for him by the big obvious neckless clue. He can’t possess the godess, he can’t drag her into his world and he can’t be a part of hers. A beautiful film to look at, and an intriguing one to dissect. Would it have been a better film if the audience wasn’t in on the reveal, if Scotty solved it for us at the end like a traditional detective thriller? Maybe that would have been too easy for Hitchcock, who ends up subtlely subverting the genre by making the film we have.
Poor Jimmy, cured of his vertigo but left emasculated and helpess at the top of a phallic tower…Freud would have a field day….and that’s even before Hitch got to Mr Bates and his knife!

I agree with most that this film is a virtually perfect masterpiece and one of my favorites… yet I can never get over being slightly distracted from the main story by my sympathy for the character of Midge, played by Barbara Bel Geddes. Not only does she never get credit for having some of the best dialogue in the movie (“Did you have fun Johnny? Did you see a ghost?”) but her character is also given a terribly sad and sort of lame exit. I’m not saying that it doesn’t make sense within the context of the story – but it still bugs the hell out of me every time!

Vertigo has a system of visual/linguistic variations on gravity, including falling, hanging, floating and, of course, suspense, (Hitchcock marketed himself as the Master of.Suspense)
A brief list of some examples:

1. Scotty’s acrophobia, triggered by hanging from the roof. (Note this is a seeming impossible predicament from which he never is shown escaping from. The rest of the movie could be a fantasy he is having as he falls to the ground, as in Bierce’s “An Occurrence at Owl Creek Bridge.”

2. The Golden Gate Bridge is a backdrop for Judy’s fall into the Bay, the site of 1200+ suicides who surrender to gravity and fall to their deaths. Note that it is a suspension bridge.

3. The pendant that gives Judy away, a piece of jewelry that dangles. The word pendant is related to the Latin pendere, the root form of suspend.

The greatest FU ending in cinematic history. The mysterious woman he loves, obsesses over, will do anything for, cannot ever go back to his past existence because of her dies not once but twice in front of his eyes and the exact same way. I don’t know exactly what this says about love I do know though that losing someone whom you have an obsession over will torture you and the eyes and limp body of Jimmy Stewart at the end of the film proves just that.

James Stewart, in the darkest, most profound and sad performance of his career, falls in love with the alluring, distant, unattainable and mesmerizing Kim Novak. Bernard Herrmann composes a heavenly, breathtaking wagnerian symphony. and Alfred Hitchcock, in the absolute peak of his powers, materializes the most beautiful, haunting, compelling and heart breaking tale of love that transcended any cinematic or human barrier. my all time favorite motion picture.