Vertigo (Collector's Edition) | James Stewart, Kim Novak

Vertigo (Collector's Edition) | James Stewart, Kim Novak | Twists and Turns Galore!

DVDs:

Vertigo (Collector...

	Vertigo (Collector's Edition) James Stewart, Kim Novak Universal Studios, 1998 average customer review:based on 328 reviews view larger image
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highly recommended

Hitchcock's Masterpiece

Alfred Hitchcock created one of the greatest films in 1958. Vertigo is a film that not many people will get upon first viewing. In actuality, it took me a second look just to understand what I just saw.

The film is filled to the brim with story. One of the most complex and yet simple stories of all time. This is a film that you need your undivided attention to realize just how powerful it is, without any outside interference.

It's a movie that even the smallest hint of plot would give it away. The only thing and best thing to describe it is, a former police officer suffering from Vertigo is paid to watch a rich man's wife.

Another thing about Vertigo that makes me love this movie is its absolutely gorgeous look. One of the most beautifully shot movies of all time.

It's one of my all time favorite movies, and one of the best EVER, in the history of cinema.

Highly recommended.

The DVD features, as already discussed her on Amazon, feature a commentary track with the producers and restoration team, and a documentary on the making of Vertigo.

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Twists and Turns Galore!

A great suspense movie--the story, screenplay, acting, musical score, and directing. Clever craftsmanship throughout. Believable characters--Stewart and Novak are superb--and a socko climax and resolution that will arrest your attention as never before. The opening scene is a slam-dunk nail biter--a hook that yanks you right into the story! The less said here about the plot, the better will be your surprises. See it, enjoy it, and see it again and again.

Hypnotic Obsession

Like the (not so Great) Jay Gatsby, who assumes a false persona to make his way in the world, the protagonist of "Vertigo" - in American innocent James Stewart's most nuanced performance - pursues a woman who isn't really what she appears to be. In Gatsby's case, his lost love was easily found in the flesh on the north shore of Long Island but proved elusive upon reunion as Gatsby pined to fulfill the dream that had escaped his grasp. In "Vertigo", it is Kim Novak's false identity (a la Gatsby) that leads retired San Francisco detective Scottie (Stewart) on a psychological odyssey more trecherous than Gatsby's - because Scottie believes his love is dead but then is shaken to the core by a woman who bears an uncanny resemblance to his fixation. Her true physical presence can never be reclaimed... perhaps.

Based not on "The Great Gatsby" but on the French novel "D'Entre les Morts", this is Hitchcock's finest work and also his most subtle. Stewart and Novak give the performances of their careers, and longtime Hitchcock composer Bernard Hermann works in highly effective shades of grey during much of the musical undertow that pulls you deeper into the vortex. The film is shot in glorious color, but director Hitchcock imbues parts of it with an errie, fog-like quality. (According to the notable Hitchcock-Truffaut recorded conversation of the early Sixties, Hitch shot the cemetery scene through a fog filter and chose the Empire Hotel as the haunt of Novak's character because the green neon sign flashing outside the window gave Novak a ghostlike quality.)

Novak was not Hitchcock's first choice for the female lead in "Vertigo". He wanted yet another icy cool leading woman, Vera Miles, but she became pregnant and Novak was called in, a disappointment to Hitch, who, like his alter ego Scottie, had conjured the image of the iconic woman and wanted nothing to get in the way of consummating that image. He must have been extraordinarily pleased with Stewart's performance, because Scottie looks like he's about to crumble several times in the film. His facial expressions in the scenes near the fireplace and in the hotel room are remarkable.

"Vertigo" is a rich, multi-layered study of obsession that ranks among my Top Five. Watching it can become its own obsession.

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THIS is a masterpiece? (Beware spoilers)

Vertigo is considered one of the greatest films ever made and celebrated as Hitchcock's masterpiece. Perhaps it is. But I found myself bored as I watched it even though I had to admire the artistic intent. There are so many holes in the film it could qualify as cheesy. However, try telling that to those who love it. I think they love it as much for its flaws as for its perfections.

Perfections: the feel of the San Francisco Bay area, the sense of historical California, the great beauty of the ocean framed by Monterey cypresses, the redwoods, the Golden Gate Bridge as seen from below and off to the side, the Bautista Mission, the fifties interior decor, Madeleine's costumes, the angle of Scottie's fedora, the acting by the three stars, James Stewart, Kim Novak, and Barbara Bel Geddes. The musical score by Bernard Herrmann is also celebrated, but I found it a bit overbearing at times, and of course Hitchcock loved using music to direct our sensitivities, and one can tire of that.

Flaws:

Scottie hanging from the drainpipe railing, watching the cop trying to save him fly over to land several stories down, dead. What is not explained is how the cop was expected to pull him up with nothing to hold onto or how Scottie managed to survive. Apparently he fell but only broke his back because in the next scene he is in surgical corset unable to scratch certain itches.

The ersatz psychology. It was the fifties and psychoanalytic psychology was all the rage. One of the bestsellers of the day was The Fifty-Minute Hour: A Collection of True Psychoanalytic Tales by Robert Lindner in which a shrink relates tales told by his patients. Hitchcock loved this sort of thing (cf., Spellbound (1945) with Gregory Peck and Ingrid Bergman). Audiences also loved it. But the psychology is strictly bananas.

Driving on the wrong side of the road (about which Hitchcock is reported to have said when it was pointed out to him, "You drive your way. I'll drive mine.")

The plot. Oh, the plot. Never but never has there been a more elaborate and unlikely murder-your-rich-wife scheme. Judy Barton is hired, persuaded or, gee, maybe hypnotized into playing Gavin Elster's wife who is to commit suicide by jumping off the bell tower at the mission. First Gavin (Tom Helmore) has to establish that she's crazy and suicidal. This is done by having her drive dreamily around the Frisco Bay area looking for the haunts of her great grandmother who committed suicide. The key is to get Scottie to believe it so he can testify that she was suicidal. For this to work, (1) Madeleine has to fool a police detective--one might say mesmerize him, which she does, (2) Get him to the bell tower at the right time where he is afraid to go to the top--that works, but you have to buy the psychology, (3) Time it so that Madeleine appears to jump off, but in reality you throw the dead body of your wife off after having broken her neck (body kept warm perhaps in your car with the heater on?), (4) Hide with Madeleine at the top of the tower until the coast is clear (whenever that might be).

Although Kim Novak's performance is interesting it is unlikely that she could fool ex-detective Scottie into believing she was somebody else. When she reappears as Judy Barton in the brown hair and the different makeup, it really makes the audience do a double take before realizing that she and Madeleine are the same. But Scottie's take seems to be that she (and some other women at first glance) look like Madeleine--after all, he just got out of the nut house. It is only when he sees the necklace that he comes to his senses.

Another thing afficionados love about this movie is the way Hitchcock was able to subtly strip his stars of their glamour and make them look more or less human. James Stewart never played a part anything like this before. All the funny faces he has to make, perplexed while driving, terrified on the way up the bell tower, insane and terrified in the dream sequence, etc. It is said that Hitchcock blamed the lack of popular success of this movie (when it was belatedly released, not now) on Stewart looking too old, and therefore Hitchcock never worked with him again. But I think Stewart, after seeing the way he looked in this movie--so unheroic, so lost as a real human being--decided he was never going to let Hitchcock do THAT to him again, and that's probably why they never worked together again.

Kim Novak's curvy body and flopping you-know-whats are revealed in outfits that Grace Kelly would never wear. And poor Barbara Bel Geddes with those most unattractive glasses! How she pines for Scottie. One of the best scenes occurs when she shows Scottie her self portrait as the mysterious Carlotta with the glasses on (!) followed by her "Stupid, stupid, stupid!" self-flagellation after Scottie, who was offended at the grotesque sight, walks out.

But why is Scottie always hanging out at her place? And how they talk the plot in the beginning so that we might know that they were once a couple! But Hitchcock never worried about anything but the effect his movie might have on the audience. Improbilities, clumsy plot devices, etc., were secondary. And you know what, he was right, as P.T. Barnum was right. Hitchcock never overestimated the sophistication of his audience and that was one of his strengths. The audience just wants to be entertained, to be diverted, to live the fantasy for a while.

Somebody said that the real entertainment in watching this movie is in watching it again after you know the story. I think they're right. It's definitely a film buff's movie.

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