Starting out as a simple neo-noirish private investigator mystery, it soon devolves into a disturbing downward spiral of destructive fixations, cutting and tearing through the characters with such razor-wire finesse that audience's eyes and minds are just as in for the slicing. An immortal masterpiece of cinematic prowess and style.
I can see why this is always voted the best movie or whatever. Really liked the dream sequence and the stuff towards the end was super creepy and interesting. Only caveat I’d have was that it seemed odd to reveal the twist at the 2/3 mark. Made the ending a lot less revelatory or exciting than it could have been. Watched whilst developing a migraine, so that may have lessened the experience a bit too.
4.8 stars. You can't really extricate Hitchcock's psychosexual leeriness behind the camera from the psychosexual leeriness on screen so the degree to which one chooses to deduct fractions of stars in one's rating should hinge on this... as, frankly, otherwise it's bloody impeccable. I find 'Citizen Kane' slightly bloodless in comparison. This is the horrible phantasmal apogee of the male gaze!
Vertigo is a sickeningly self indulgent affair. Text book how not to make a long movie, this flick faffs around doing pretty much nothing for two hours just so it can hit us with an absurd plot twist in the last ten minutes. Staying awake is hard enough watching Vertigo, but following the plot is near impossible, mainly because you don't give a shit 30 minutes in. The critics got it right the first time around.
All-time favorite.. I saw this amazing piece of art because my mom had the whole Hitchcock filmography in VHS (except maybe the very first works). I was about 6-7 years old and... it was love at first sight. This movie is like a fragment of my childhood, a part of my family, even a fetish. It changed my life and my approach to the art of filmmaking.
Vertigo’s plot is often on neutral. The storytelling is too narrow and only sporadically interesting. It even takes 40 minutes for a 1st turning point of intrigue, with the attempted suicide. When it moves into the romantic subplot between Stewart/Novak, it's acted stagy and unnatural, unlike the Midge scenes. All this snaps my entrancement until the last 35 minutes, which are quite good.
3.5 I was hoping it would be more psychedelic and mind-bending but the first half was enchanting. I primarily enjoyed the scenes of Madeleine walking through her waking nightmares. The green car matching her eyes. The gorgeous Technicolor red restaurant. The lush fey forest. Midge being so underappreciated. :'(
Why does a limited talent like Kim Novak get under your skin while an expansive, proficient artist like Meryl Streep stay on the outside. Does it have to do with individual temperament? I honestly don't know. As an aside, Hitchcock thought that he could make a star of Vera Miles in this role. Paul Schrader knew that he could not go as far as he did with anyone else but Novak.
Odd and memorable - yet having seen it 20+ years ago, I remembered NOTHING of the plot. Hitch repeats his thrill trick... no way you can watch this while surfing your tablet, and I bet people get too bored or put off by the bizarrely unlikely female protagonist. But it's worth it, and it all sort of makes sense. To avoid a spoilerish hint, don't look up the word: I have mild prosopagnosia which is a (dis?)advantage.
A movie that grips attention from the moment Bernhard Herrmann introduce the movie with his film score. Hitchcock and James Stewart collaborate on their final film together and their teamwork go so smooth and beautiful that it is hard not to enjoy every single frame here. Magnificently shot and every set-piece has a glorious function. It works so good that many have tried to copy it's formula ever since.