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Crime, Thriller, Mystery, Romance, Film-Noir
IMDB rating:
Alfred Hitchcock


          Vertigo IMDb    Vertigo Wikipedia    Vertigo Soundtrack

James Stewart as John 'Scottie' Ferguson
Kim Novak as Madeleine Elster
Barbara Bel Geddes as Midge Wood
Tom Helmore as Gavin Elster
Henry Jones as Coroner
Raymond Bailey as Scottie's Doctor
Ellen Corby as Manager of McKittrick Hotel
Konstantin Shayne as Pop Leibel
Vertigo Storyline: John "Scottie" Ferguson is a retired San Francisco police detective who suffers from acrophobia and Madeleine is the lady who leads him to high places. A wealthy shipbuilder who is an acquaintance from college days approaches Scottie and asks him to follow his beautiful wife, Madeleine. He fears she is going insane, maybe even contemplating suicide, he believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine.
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I Adore Hitch: Bores Me To Tears
Spoilers Ahead:

Do not take just my opinion about this movie. My family contains two other Hitch collectors and nobody has this in their collection. I have 39 steps and The Lady Vanishes, Foreign Correspondent. This movie is simply boring beyond belief. There is a reason this was one of Hitch's worst box office performers. Since then, it has become a Rorshach test for people's projective values into the movie. They see so much; I am sorry, Freud said projection is almost an unavoidable human failing. When I read so many of these, really it is inside of you not the movie. The narrative is straight forward: a man commissions Stewart to watch his wife, Kim Novak, because she is acting crazy. She seems to be transforming into some woman in a painting. The movie follows Stewart tooling about following her. This is the central flaw in the movie. Long periods of the movie are Stewart driving here and there first following the putative wife, after she appears to have jumped off the building, he follows a look alike that he inadvertently runs into. She has red not blond hair but her face is a dead ringer for the dead wife he failed to protect. He is publicly humiliated at a hearing though exonerated criminally. The endless following, which consumes the movie is why the title is a misnomer. Stewart's vertigo while important is not the bulk of the movie: Obsession that is what the movie is about.

From the beginning, intelligent viewers suspect the man who hires Stewart, the sight of her suicide being so congruent with his weakness, trust me, you will figure out halfway through this bore fest what is going on right away. In my living room, guys were yelling out,"Yeah, he hired him cause he's up there with the dead wife already, come on." Do not let the movie's length fool you, it feels like Ben Hur only slower. Hitch was a genius but all great men make mistakes this is Hitch's greatest one followed later by The Trouble With Harry. All three of the Hitch collectors, in my family, got this in a multi Hitch Blu Ray collection and all three of us threw it away. Boring like no other Hitch movie, devoid of action except at the beginning and ending; it is one long following a woman all about town. Shadow Of A Doubt I consider to be his best, better than the more acclaimed Psycho or Rear Window; that is slow but there is more going on under the surface than Stewart driving all over town following the two women.

This is why it bombed at the box office. In the movie Hitchcock, when Alfred proposes Psycho, the executives first words are,"Is this going to be another Vertigo? You know, where we lost our shirts?" Some of Hitch's earlier movies, like Foreign Correspondent or Jamaica Inn, have slow parts: this is a slow movie with tiny scenes of action. You will likely be asleep by then. My review is easy: Do you really not enjoy Hitchcock? Disliked some of his films? Do not watch the movie. If you adore every Hitch: give it a try but do not say I didn't warn you. I think the dreadful Motionless Picture moves faster. A long coma inducer which has been canonized into a reputed masterpiece. When it was released, audiences left in droves for a reason, watch the movie.
Not a masterpiece
Vertigo divides audiences more than any other Hitchcock film.

For one critic it is "one of the four or five most profound and beautiful films the cinema has yet given us." A poll of 150 international critics has three times voted it the second greatest movie ever made (after Citizen Kane). However, many viewers find it a crashing bore.

I have sympathy for both camps.

Vertigo is the film in which Hitchcock comes closest to dealing directly with his own personal demons. The surface story makes no sense by itself and only works if you respond to the powerful undercurrents in its subtext. But Hitchcock still has to get the surface story right. It must fully embody the subtext and engage with its audience. For many people, it doesn't quite do either.

The prologue leaves Scottie hanging over an abyss. By not showing his rescue, Hitchcock effectively leaves him hanging there for the rest of the movie and his vertigo becomes a metaphor for his spiritual condition; he is poised between a longing for life and a longing for death. In rejecting the (real) life-affirming Midge and in his infatuation with the (illusory) death-obsessed Madeleine, he makes his fateful choice.

However, the prologue also supports a literal interpretation of his vertigo and the next scene doesn't really establish that Scottie's problems go deeper than his understandable fear of heights. We learn that he and Midge were once lovers but there is no follow through that explains why he broke off the relationship or why he becomes besotted with what we later learn is just a fantasy women.

The next scene, with Elster, is even more unfortunate and its defects reverberate throughout the movie. Elster could have been depicted as a sort of Mephistopheles, who sees Scottie's weakness and tempts him to his doom. In fact, he is thinly-sketched and is just a device for kicking off the story.

More crucially, he tells Scottie too much about Madeleine's obsession with Carlotta. This virtually forces Scottie into being the level-headed sceptic and makes his subsequent neurotic behaviour even more arbitrary and difficult to believe. It also undermines the ten-minute wordless sequence of Scottie trailing Madeleine around San Francisco.

If Elster has simply asked Scottie to investigate his wife's aimless wandering, we would have started out expecting something mundane (like an affair) only to be drawn into the much more intriguing mystery of her identification with Carlotta and her apparent sleepwalk towards suicide. As it is, the sequence merely confirms what Elster has already told us and often tries the patience of the audience. For many, the picture never recovers.

Moreover, because Scottie's character is under-developed (and Stewart's performance is unable to realise what the story implies) the rest of the movie can be viewed as the tale of an ordinary man who becomes infatuated with an attractive, troubled, woman whose life he has saved. The shadow of Carlotta then becomes an incidental detail and we get only a weak sense that Scottie's love is an unhealthy obsession. His eventual break-down is then under-motivated and seems imposed on the picture rather than being integral to its structure (a feeling reinforced by Hitchcock's decision to present it in an abstract, symbolic way).

I don't view Vertigo in this way, but I can sympathise with those that do.

With Scottie's breakdown, the picture reaches a second turning point. When Midge walks down the hospital corridor and the screen fades to black, it feels as if the movie is over. Of course it isn't and what happens next is crucial. Nothing up to that point makes any sense without it. But a second structural flaw immediately emerges. We are three-quarters of the way through the movie but only half-way through the story. Just when Vertigo needs time to re-engage our interest after the false ending it suddenly accelerates.

We get a montage that establishes Scottie's continuing obsession with Madeleine, then he spots Judy, follows her home and we are immediately plunged into a flashback that 'explains' the plot. This meeting needed much better preparation and the subsequent relationship needed more time to develop.

By revealing the plot twist so early, Hitchcock is inviting us to see how self-defeating Scottie's neurotic behaviour really is: in recreating Madeleine he is inevitably destroying his own illusions. But he rushes through this process. We have no time to get to know the real Judy before we are confronted with Scottie's bizarre plan to transform her. Then, at the very moment the transformation is complete, Scottie immediately spots the deception so the picture gallops to its climax and then slams to a halt.

As a good professional, Hitchcock was wary about letting any of his pictures run over two hours, but if he wanted to impose this discipline on himself, then he should have been more ruthless in pruning the first half of the story. In fact, he should have just accepted that this story couldn't be told effectively in two hours and have let it run on longer.

We rightly admire Hitchcock's movies for their great set pieces, but tend to overlook their fragile story sense and relatively weak dramatic structure. Mostly, that didn't matter, but in an ambitious picture like Vertigo it is a fatal flaw.

There is much more to Vertigo than its detractors acknowledge, but it is far from being the near-perfect masterpiece that its most fervent admirers would have us believe.
My favorite movie of alltime!
I have seen ALOT of movies in my life, but none have moved me the way Vertigo has...It's simply brilliant...the more times one views it, the more one picks up from it...a true masterpiece from the master himself...When I think Vertigo, I think the colors red and green...when I think Vertigo I think obsession with love, and the film itself...This movie is so deep that you could write a thesis on it and keep adding to it from time to time...Hitchcock really gave his all in this's about the ultimate love...wanting to achieve the ultimate love, and, as happens in life, never having love turn out to be the way we want it to be...all star performances by Stewart, Novak and Bel Geddes make this visually stunning masterpiece a true film classic...Newly restored, the DVD version simply blows you out of the water....I have seen the movie about 20 times now, and everytime I love it more...Vertigo is the ultimate cult film for me, as I keep going back to it more and more...considering it's dark storyline, it must be a glut for punishment, but Hitch only keeps me wanting more....10 stars...only because I can't give it 100 stars!
Beautiful but vastly overrated
Vertigo has all the makings of a masterpiece except one: a compelling story. The twist is blatantly obvious twenty minutes into the film, and the romance of the film falls completely flat, so to speak. Ultimately, for all of Hitchcock's vibrant colors, striking camera angles, and the thrilling dream sequence, we simply do not care whether the characters live or die. Overall, a very disappointing film, but worth watching nevertheless for fans of Hitchcock's work. Vertigo is a remarkable instance of the whole being less than the sum of its parts.
Let there be color!
Since there are already so many real good comments on this film I want to focus on only one aspect.

Vertigo is a great example for what color films really can look like! Not only do I want to praise the quality of the Technicolor dye transfer prints but also more the way Hitchcock used color to create moods. Many directors used light to create moods in black and white movies but only very few ever got so far as to use the much greater palette of colors for the same purpose. One wonders why. Some directors decide for an overall color look, which is often done in the lab, but not on the set.

Vertigo is full of scenes where the colors have been saturated or changed to create a special feeling. Hitchcock even went so far as to openly dye some frames is bright unnatural colors. He played around with colors in all his color films but never as much as in this one. Think for example on James Stewart's nightmare in the middle of the film. There are frames dyed purple and green; the cemetery scenes are red, inserted to the rhythm of the music with normal frames. Kim Novak is often bathed in colored light like in the famous hotel room scene, where she appears like a ghost with all the green light around her.

The shading is also important. In the scene in the bookshop we hear a dark and sad story while at the same time the light dimes down to simulate dusk. In the scene where Judy remembers the real events in the bell tower it starts with an outdoor scene, which we have already seen but it is now much darker than the first time. In the sequence where Stewart follows Novak to the cemetery everything feels unnatural since every scene glows through the use of a filter that creates a blur.

The non-color of Kim Novak's dress as Madeleine is also a very important aspect in the film. She has to color her hair to become Madeleine again at the end of the picture.

The way color is used in this film gives it this dreamlike quality that allows endless interpretations. A true masterpiece!
Fine puzzler from Hitchcock.
The initial critical verdict of Vertigo was that it was not one of Alfred Hitchcock's better films. Time has turned it into his most analyzed and revisited movie and, in the eyes of many, his masterpiece. I still don't subscribe to the opinion that this is Hitchcock's greatest film (give me The Thirty Nine Steps, Foreign Correspondent or North By Northwest) but it is certainly a wonderfully absorbing mystery, and the original indifference that greeted the film from critics and audiences was totally unjust. It takes multiple viewings to fully appreciate what Hitchcock is up to in this movie - it is a sophisticated and multi-layered film that grows in stature the more times you view it.

San Francisco cop John "Scottie" Ferguson (James Stewart) has a hair-raising escapade on a rooftop while chasing a robber. Thereafter, he develops vertigo (a fear of heights) and retires from the force. Some while later Scottie is contacted by his old friend Gavin Elster (Tom Helmore) who wants to hire him for a little unofficial private detective work. Elster is worried by his wife's increasingly outlandish behaviour - she seems to go into a dreamy state of mind and wanders off for hours on end without any explanation as to where she has been. Scottie's job is to tail her and learn where she goes. The mystery thickens when Scotties starts following Madeline Elster (Kim Novak).... the more he learns about her and her wanderings, the more it seems that she is possessed by the spirit of her long-deceased ancestor Carlotta Valdes. Eventually Scottie saves Madeline when she tries to drown herself in San Francisco Bay, and soon after they fall in love. But just as Scottie begins to make headway into her psychological problems, she kills herself by leaping from a bell tower. Scottie is left in a state of mental shock but later, following his release from hospital, he bumps into a woman named Judy (Novak again) who is the exact double of Madeline....

Hitchcock generates a stunning air of mystery with Vertigo, coaxing brilliant performances from Stewart and Novak and using the location of San Francisco as almost a third leading "character" in his story. Stewart's obsession with Novak, and his descent into madness as he grieves over his inability to protect her, is brilliantly portrayed. As ever - in fact, more so than ever - Hitchcock keeps the audience off-balance with his disorientating camera work, ingenious plotting and atmospheric use of colour. Bernard Herrmann contributes a haunting score (his fourth for Hitchcock) that heightens the passion and suspense even further. The solution when it comes is extremely clever, and proves (as if proof is needed) that Hitchcock has a masterful touch when it comes to clever plot twists. The film's chief drawbacks, for me, are the excessively studied pacing in the first half, and the somewhat abrupt ending. On the whole, though, this is a superb film which is always a pleasure to come back to.
A Hitchcock Masterpiece
Many believe that this was greatest work of a master renowned for the outstanding direction of suspense thrillers. Alfred Hitchcock creates a vortex of emotion and deception in this classic film about obsession.

There are so many complex themes to this story that it requires several viewings to appreciate. It metamorphoses numerous times, shifting from a detective story, to a love story, to a murder mystery, and finally to neurotic obsession. It is a deep character study of flawed characters. Some are not what they appear to be and others change before our eyes.

Hitchcock's direction is superb, not only from the standpoint of assembling the story, but from a technical perspective as well. The photography, lighting and perspectives are brilliantly done and locations wonderfully selected, especially the shots at the foot of the Golden Gate Bridge. Hitchcock also brings forth outstanding performances from Kim Novak and James Stewart. Stewart generally played admirable and heroic characters in his career so the deeply flawed John Ferguson was a clear departure for him. This is probably his best and most gut wrenching performance and I don't think it would have been possible without Hitchcock's direction because Hitchcock was the master of bringing such characters to life. Novak and Barbara Bel Geddes (most famous as Miss Ellie on TV's `Dallas') also give excellent performances.

Bernard Herrmann's musical score is superlative. It is beautiful, compelling and chilling and brought additional power to almost every scene. Hitchcock had such great respect for Herrmann that he stated during production that whether the scenes of the film worked or not depended completely on the music Herrmann would write. He trusted that Herrmann would create just the right mood, and he was correct.

The DVD version presents us with a completely restored version of the film with rich color and powerful sound. The new DVD is the only way to watch this film if one hopes to experience it the way it was originally presented in 1958.

This film is ranked number 61 on AFI's top 100 movies of the century. I rated it a 10/10. It was virtually ignored at the Academy Awards garnering only two nominations for set decoration and sound. However, it endures in the opinion of many as one of the best suspense thrillers ever made.
Misses Me..
I do not understand why James Stewart spent basically the entirety of his early career allowing himself to be typecast as nice, respectable, clean-cut (albeit a bit goofy) young guys, only to later be cast by Hitchcock to play touchy, ornery, grouchy older guys who, despite their actual younger age, act like 80 year old men whose neighbors are playing the music too loudly. That's a huge, number one issue with Vertigo, and maybe the only issue (for me) with Rear Window.

In Vertigo, Stewart plays a detective newly suffering from Acrophobia (fear of heights) and of course, Vertigo. He's asked by a friend to investigate his (the friend's) wife, odd behavior, and see what she gets up to during the day. Meanwhile, in a basically unnecessary subplot, Stewart's old flame (played by Barbara Bel Geddes) is yet another obviously far younger blonde who just can't seem to get enough of the guy, vying for his attention, although she never can quite seem to get it right, either infuriating him with a painting, or simply by not being as interesting as Kim Novak.

There are several problems I had with this movie, one being the gigantic lack of chemistry between the characters. In order to make the insane obsession thing that ends up overpowering Stewart work, he needs to actually seem into Kim Novak when she's Madeleine, but what he does doesn't really come off that way, he seems angry a lot of the time, even when he's just tailing her, seeing what she's up to. The only time I saw his "love" for her was when she came by his apartment to drop off the thank-you note. He seemed genuinely enamored of her, although not nearly enough so to justify the ludicrous obsession that drives him to transform Judy into Madeleine later on. Barbara Bel Geddes' has an obsession of her own with Stewart. This makes sense in the way that most of the pairings do in these movies: they're Hitchcock's fantasies. Although the scene where Stewart sees Bel Geddes' painting and totally overreacts really didn't make any sense to me, at least it was good for a laugh.

Another issue is the timeline. Not so much that things aren't in the right order, but more that the first "half" of the story, takes more than half the movie. "Madeleine" doesn't fall off the roof until past half, yet there's still the whole "Judy" storyline to get through. Both story lines are upsetting and creepy, but I'd say the scene in the department store with Judy takes the cake.

One thing this movie really has going for it, however, is the setting. There's a remarkable amount of on-location shooting (in San Francisco). Considering the lengths Hitchcock went to avoid having to leave the comforts and control of the studio, it's pretty impressive to view this movie. The Palace of the Legion of Honor Museum is showcased a few times, a nice treat for those who have been there (you can even see statues out front that remain there today) the interior seems to have changed since, but it's still interesting to see. There's real footage of streets, storefronts, graveyards, buildings, forests, ocean/seaside areas, missions, etc. and it's all extremely beautiful. The scene in the forest is effectively creepy and eerie, and the scene by the sea was effectively dramatic. Ludicrously fake as they were, I liked both Stewart's and Bel Gedde's apartments.

For me, a movie can be somewhat redeemed if the setting feels good, and in Vertigo's case, the setting was the only reason to watch.
Only the most shallow man would fail to be impressed by appearances.
"Vertigo" is considered Hitchcock's masterpiece by high-brows and viewed as a slow, dull movie by proletarians. Indulge this Olympian generalizations for a moment.

If you don't know the story by now, it goes something like this. Jimmy Stewart is a San Francisco detective retired from the force because he contracted a severe case of acrophobia on the job. An old college friend, Gavin Elster, hires him to follow Elster's wife, Madeleine (Kim Novak) around. Elster is afraid Madeleine is going nuts. Stewart takes the job and is soon hooked on the lovely Madeleine. He rescues her from a suicide attempt, lugs her unconscious body to his own apartment, undresses her, and puts her in his bed until she recovers.

Stewart and Madeleine fall in love, but she's still balmy and climbs to the tower of an old church to kill herself. Stewart can't follow because of his acrophobia. He blames himself. Later, while wandering the city streets, he spots a girl named Judy Barton (also Kim Novak) who resembles the departed Madeleine. Stewart gets to know her, squires her around, and step-by-step has her dress and groom herself exactly like his lost love. Then he discovers that Judy IS in fact his lost love. Judy was in cahoots with Gavin Elster and Stewart was a victim of a hoax designed to get rid of Elster's real wife. It ends tragically.

It's neither a masterpiece nor dull, really. I don't doubt for a minute that it's Hitchcock's most personal movie. Cripes, he's got this luscious blond he keeps dressing and undressing, gorgeous and sexy, but also unattainable and ghostly. (A ghost of substantial heft, though.) That was always Hitchcock's fantasy, the icy Nordic who would attack you in the back seat of a taxi. (Poor Alma Reville, his wife, a rather homely brunette dwarf.) On top of the personal interest that Hitchcock lavished on the story, he adds some technical dazzle. Not too much. The acrophobic detective stares down the tall campanile and the camera simultaneously zooms in and dollies back. The tactic was so successful it's been imitated a number of times. And when Stewart and Novak finally kiss and make love in her green-lighted apartment, the director has them and the camera on a turntable that slowly revolves and shows us varied haunting backdrops. And the movie wouldn't be what it is without Bernard Hermann's romantic and oneiristic score.

The whole film is meant to be dream-like and that's why it's understandable that some people would see it as irritatingly slow. It follows Edgar Allan Poe's theory of literary aesthetics. Poe threw reason off the bell tower and went for eerie effects, period. A man buries a murder victim under the floor but nails a cat in with the body by mistake. How can anyone miss a cat that's in the burial chamber?

I can imagine viewers now, squirming, and asking, "Where the hell is the logic in this movie?" Let's put it this way. You are a girl named Judy Barton. You're pretty but have no marketable skills. A very wealthy man comes to you and offers you money to help him kill his wife. All you have to do is impersonate the wife and trap a former detective named Jimmy Stewart into falling in love with you and then lead him to a place where the wife can be safely killed and still look like suicide.

Then, after the rich dude takes off for Europe, leaving you to become your slovenly self, you accidentally run into the victimized Stewart on the streets. (In a city of 700,000.) He doesn't recognize you, naturally, because now, having reverted to your original persona, you look like an overly made-up hooker. But he follows you home, knocks on your door, introduces himself, and asks you for a date. I ask you -- the discerning, sophisticated, somewhat street-savvy viewer -- would you accept? Would you date a man who will almost inevitably find out you're a murderess? One slip of the tongue could do it. The only person stupid enough to accept would also bury a black cat alongside a dead body.

Kim Novak is a lot more effective as Madeleine than as Judy. The latter persona is coarse but tender too. The former is elegant and speaks in a ghostly whisper. Kim Novak was probably right for the part. As Judy, she has these overemphatic eyebrows that lend her the appearance of a Universal monster, perhaps one of the lesbian vampires that smiles as she pours you the drugged wine. But of Hitchcock's other actresses at the time, who else could have done better? The photography is splendid. And the director takes us on a Cook's Tour of many of the Bay Area landmarks -- Ernie's restaurant (now gone), Muir Woods almost, The Palace of the Legion of Honor, Fort Point, Mission San Juan Bautista (which has no tower), Point Lobos. And every day is perfectly sunny. Stewart re-dresses Novak at an expensive shop that was Ransohoff's at the time. It, too, is now gone but I took my wife to its less expensive replacement and insisted she buy a signature gray suit with a soft white shirt and a pair of brown heels. She swore she would do no such thing. After a slight scuffle, not nearly as athletic as the papers made it out to be, we wound up with some cheap scrap of an apron. (She never wore it.) It's only in a film in which there is no place for common sense, let alone genuine logic, that a man can create a new woman or resurrect an old one.

I find it a fascinating movie, technically almost perfect, and worth repeated viewings if they're not repeated too often. (It's pretty depressing.) It's at once demanding and rewarding. And I'm certainly glad Hitchcock made it, if only to get it out of his system.
A Sad Disappointment
It's always tough to be the odd man out, it's even harder to be just that on a film by one of your favorite filmmakers. Alfred Hitchcock's Vertigo is often considered one of the all-time greats for the Master of Suspense, and it really pains me to disagree with the vast majority, but that is how these things often go.

Vertigo tells the story of a retired San Francisco detective played by Jimmy Stewart who suffers from vertigo. Stewart's character is hired by an old friend to tale the friend's wife who has been exhibiting odd behavior recently, her husband believing she is channeling the spirit of a 19th century woman. The premise is well set up, and the starting paces play out superbly, but when the story starts trying to explain all of the supernatural with a Sherlock Holmes-style deduction, I find the film hard to swallow. The film becomes more far-fetched when it tries to explain realistically all of the supernatural events rather than just letting it be a ghost story. As well, the romance between the characters played by Stewart and Kim Novak, who portrays the woman Stewart is following, just develops too quickly to be believable.

As I said, it pains me to talk such as this. The film had been so built up before I finally saw it, that I guess I expected something completely different than what I got, but what I got was something that started out as one thing, and then midway through the film transformed into another that just negated all of the things I loved about the first half of the film. Want my advice, if you love Hitch, try Rear Window or North by Northwest. Way more suspense, way more mystery, and way more fun.

I give Vertigo a 4 out of 10!
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