It’s a movie about memory that actually improves the more you go over its folds. This time, returning to the deluxe 1996 restoration, I noticed a masterful symmetry: Scottie, quietly on the case, follows Madeleine into the hazy, greenish sunlight of a cemetery. Later, she’ll emerge from yet another green haze, a neon light, walking out of death’s grip into his arms. Do directors even think about things like that anymore?
May 31, 2011