Vertigo (B+ or 3/4 stars)
'Vertigo' is Alfred Hitchcock's dazzling, dizzying 1958 psychological drama about a man obsessed by a mercurial love for a mysterious blonde. This film is known to be one of Hitchcock's "greats"; influencing the likes of Martin Scorsese, Brian DePalma & David Lynch. That said, while I admire the filmmaking & completely acknowledge its classic status, aspects prevent me from outright loving it; more on that later. The film opens with a prologue that details the circumstances under which San Francisco Det. John 'Scottie' Ferguson (James Stewart) develops an acute case of acrophobia; which leads to vertigo whenever he climbs steep stairs or gets several feet off the ground. To this, he steps away from the police force due to his condition.
His only true friend in life is Midge (Barbara Bel Geddes}. But then John is approached by an old confrere, ship yard magnate, Gavin Elster (Tom Helmore), to follow his rich, beautiful wife, Madeleine (Kim Novak). Gavin is concerned about Madeleine's mental health - she suffers from black-outs and, he believes that the spirit of a dead woman is trying to possess her. Madeleine is 26 yrs. old, and this woman was 26 when she committed suicide. As John tails Madeleine, day after day, he starts to fall for her. Eventually, they meet & discover that the attraction is mutual. But John still can't overcome his vertigo; which proves disastrous when he is unable to save her from a suicidal plummet from atop a church bell-tower. This causes John to suffer a breakdown and, during his recovery, a chance encounter brings our lovesick despondent protagonist face-to-face with Judy Barton (Novak again) ... the spitting image of Madeleine. Chilling melodrama ensues.
Hitchcock does a great job blending Vertigo's varying plot, visual & thematic elements together. It's a bizarre love story, a confounding mystery, & a psychological thriller all at once. It deals with issues of obsession, mental & physical paralysis, the fragile nature of romance, and also about domineering men. 'Vertigo' is the kind of film that benefits from repeat viewings, but for a one-&-done, it is powerful, anyway. Stylistically, 'Vertigo' is noteworthy for its distinctive color scheme {which features reds & greens at pivotal moments}, some disorienting camerawork that has never been seen before, & Bernard Herrmann's haunting, unsettling music score.
James Stewart is stellar, playing a seemingly likable, but pretty messed-up guy who finds himself ensnarled in surreal circumstances; but also, through no fault but his own -- no one asked him to fall in love with these women from the jump. And, some critics of the film would say that Stewart's character is actually ... not the greatest guy. He starts an affair with his old friend's wife. And him trying to make Judy physically conform to what he envisions she should be like is kinda crappy. Kim Novak brings the right touch of mysterious intrigue to Madeleine/Judy. Emotionally distant as Madeleine, then troubled & earthy as Judy, Novak makes us easily accept this oddball plot contrivance. The rest of the cast does well with their roles.
As I mentioned above, 'Vertigo' is a masterwork, for sure. Everything from the disturbing themes surrounding lust, manipulation & even necrophilia are intriguing. The cast impresses. The editing & locales are scintillating {San Fran was like a 3rd major character in & of itself}. The striking cinematography creates a sort of dream-like hellscape for John. But yeah, it's just a hard movie to 'love', for me. It is cold & clinical. And my interest waned a bit as it goes. Hitchcock was the master of suspense, but early slow-burn suspense kind of gives way as it when really, it should amp up. The movie is bonkers and, the big twist reveal occurs too early before the end. Classic movie; I just don't have a strong emotional connection to it.
His only true friend in life is Midge (Barbara Bel Geddes}. But then John is approached by an old confrere, ship yard magnate, Gavin Elster (Tom Helmore), to follow his rich, beautiful wife, Madeleine (Kim Novak). Gavin is concerned about Madeleine's mental health - she suffers from black-outs and, he believes that the spirit of a dead woman is trying to possess her. Madeleine is 26 yrs. old, and this woman was 26 when she committed suicide. As John tails Madeleine, day after day, he starts to fall for her. Eventually, they meet & discover that the attraction is mutual. But John still can't overcome his vertigo; which proves disastrous when he is unable to save her from a suicidal plummet from atop a church bell-tower. This causes John to suffer a breakdown and, during his recovery, a chance encounter brings our lovesick despondent protagonist face-to-face with Judy Barton (Novak again) ... the spitting image of Madeleine. Chilling melodrama ensues.
Hitchcock does a great job blending Vertigo's varying plot, visual & thematic elements together. It's a bizarre love story, a confounding mystery, & a psychological thriller all at once. It deals with issues of obsession, mental & physical paralysis, the fragile nature of romance, and also about domineering men. 'Vertigo' is the kind of film that benefits from repeat viewings, but for a one-&-done, it is powerful, anyway. Stylistically, 'Vertigo' is noteworthy for its distinctive color scheme {which features reds & greens at pivotal moments}, some disorienting camerawork that has never been seen before, & Bernard Herrmann's haunting, unsettling music score.
James Stewart is stellar, playing a seemingly likable, but pretty messed-up guy who finds himself ensnarled in surreal circumstances; but also, through no fault but his own -- no one asked him to fall in love with these women from the jump. And, some critics of the film would say that Stewart's character is actually ... not the greatest guy. He starts an affair with his old friend's wife. And him trying to make Judy physically conform to what he envisions she should be like is kinda crappy. Kim Novak brings the right touch of mysterious intrigue to Madeleine/Judy. Emotionally distant as Madeleine, then troubled & earthy as Judy, Novak makes us easily accept this oddball plot contrivance. The rest of the cast does well with their roles.
As I mentioned above, 'Vertigo' is a masterwork, for sure. Everything from the disturbing themes surrounding lust, manipulation & even necrophilia are intriguing. The cast impresses. The editing & locales are scintillating {San Fran was like a 3rd major character in & of itself}. The striking cinematography creates a sort of dream-like hellscape for John. But yeah, it's just a hard movie to 'love', for me. It is cold & clinical. And my interest waned a bit as it goes. Hitchcock was the master of suspense, but early slow-burn suspense kind of gives way as it when really, it should amp up. The movie is bonkers and, the big twist reveal occurs too early before the end. Classic movie; I just don't have a strong emotional connection to it.