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Vertigo - Aus dem Reich der Toten


USA, 1958
Mystery, Liebesfilm, Thriller

Darum geht's

Ein wegen Höhenangst aus dem Polizeidienst ausgeschiedener Detektiv verliebt sich in die neurotische Frau eines Schulfreundes, die er überwachen soll. Als sie sich von einem Kirchturm stürzt, fühlt er sich an ihrem Tode schuldig. Später begegnet er einer Doppelgängerin der Toten.

Vertigo - Aus dem Reich der Toten Regie Alfred Hitchcock

Auszeichnungen & Festivals

Academy Awards

1959 | 2 Nominiert unter anderem: Best Art Direction-Set Decoration, Black-and-White or Color

James Stewart is the embodiment of the anti-hero – as he already was in Rear Window (1954) and The Man Who Knew Too Much (1956) – and he finds himself falling for Kim Novak as the archetype of the femme fatale. But what makes Vertigo different is how this love affair exposes the weaknesses and failings of these two people – to the point that everyone can identify with it. That’s the power of love according to Hitch.
July 20, 2015
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Dive (or fall) deeper into Vertigo and it’s clear the reasons for the film’s enduring influence extend far beyond its ample surface pleasures. Hitchcock counted this as the most personal of his works, and it plays as a self-lacerating roman à clef, a deeply felt dramatization of the dark side of his filmmaking practice—the voyeuristic concerns of Rear Window (1954) pushed to their extreme.
April 08, 2015
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Vertigo does a number of things astoundingly well. The double structure is a stroke of genius, with the film’s first half producing a terribly compelling thriller, and the second opening up Jimmy Stewart’s Scottie in a way that reveals his motivations while illuminating his true colorus… Yet at the core of the film sits a love story that, for a modern audience, is virtually impossible to abide.
March 17, 2013
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