What Vertigo Means to Us
Few movies are as entrancing and dreamlike as Vertigo, from its gorgeous colour scheme to Bernard Herrmann’s sublime score. What I love about this film is that it feels like an open-ended question; while I can’t say I always find the plot transfixing, it is the pursuit of a dreamy fantasy that ensures this is a psychologically rich, emotionally potent experience with endless rewatchability. James Stewart and Kim Novak are a spectacular pairing, with Stewart providing one of his career-best performances in communicating Scottie’s anguished longing. Scottie is constantly searching out and re-sculpting a dream lost to him, which only grows more distant the longer it eludes him. You want so much for him to succeed on a first viewing, demented as he may be, but with each subsequent rewatch it only becomes more solidified that it is the quest for this glorious vision, not the end result, that makes Hitchcock’s enduring classic so tantalising.
–Cian McGrath
Vertigo gets darker every time I watch it. It’s a tale of murder, deception and obsession, so it should be dark enough already, right? When I first saw it, though, I viewed it totally as a movie about a guy who gets caught up in a murder plot and then falls for one of people who deceived him. I think, because I’d seen Jimmy Stewart as the good guy in so many films, I couldn’t really process him as anything BUT that. In the years since, however, Scottie’s obsession with, and manipulation of, Judy, gets weirder and darker and more disturbing each time I watch it. Yes, he’s been through some extreme trauma, but his remaking of Judy into the object of his obsession – a woman he didn’t even really know – can’t be excused. It’s actually increased my estimation – already high – of Stewart’s acting abilities. He remains the likeable everyman, which makes his actions even worse. He’s a victim, yes, but he’s also an abuser, and it deepens my appreciation of the complexities of the film. (And that’s without talking about how his character is a reflection of the director, with Hitchock notorious (sorry) for remaking his leading ladies into some cool, impossible idea of femininity.) The movie is beautiful, fascinating, dark and deep – and I already want to watch it again.
–Bob Cram
A Haunting Love
Vertigo opens with one of the most brilliant opening credit title cards sequences in all of film history – put together by the legendary Saul Bass. Equal parts haunting and sexy, it sets the tone for the entirety of the movie.
We are immediately introduced to the spiral motif, a visual representation of the effects of vertigo, and representing the eventual spiraling descent of Jimmy Stewart’s Scottie Ferguson character.
In what is maybe the most masterful film in the storied career of Alfred Hitchcock, Vertigo also feels like it is perhaps his most personal film. The passion, obsession, and romantic fervor all seemingly come from a deeply personal space. Whether or not that happens to be true, Vertigo remains one of the most recognizable and celebrated films in the history of the medium.
Jim and Kim
Jimmy Stewart’s greatest skill as an actor was his ability to embody the everyman. Something about the way he was able to carry himself allowed for audiences to see themselves in his characters. Despite the extraordinary circumstances he finds himself, because of Stewart’s charming affect we can all see ourselves in his shoes.
His co-star, Kim Novak is equally outstanding in her role as Judy Barton/Madeleine Elster. Novak, however, was not the first choice to play Judy. The role was originally intended for Vera Miles, who happened to get pregnant just before filming was set to begin. Miles did model for early versions of the painting of the Carlotta character, but the rest is Novak. Novak gracefully slid into the role, and the rest, as they say, is history.
The onscreen chemistry between Stewart and Novak is central to the film’s success. The tragedy of their romance, and the intensity of passion are communicated beautifully by the two lead stars. Novak’s ability to convincingly play the dual role is second to none. Stewart’s descent into PTSD-charged insanity is remarkable in that it never strays to over the top.
The remaining supporting cast, although small, is also wonderful. Barbara Bel Geddes doesn’t get enough credit for her portrayal as Midge – the charming moral center of the film. Tom Helmore plays Gavin Elster with enough just the right touch of sleaze. And of course, Mr. Hitchcock makes one of his patented cameos.
Dreams and Nightmares
One of the most stunning moments in Vertigo is the famous dream sequence. It’s an absolutely masterful abstraction of the Carlotta character, her bouquet of flowers, her necklace, and her empty grave. Scottie Ferguson is trapped in a colorful and endless loop of a forever sense of falling.
The visualization of his paranoia is infinitely more effective than if it were just communicated via dialogue or other conventional storytelling techniques. The trauma of losing Madeleine haunts him in unimaginable ways. After the trauma of losing a colleague on the police force in the opening scene, Scottie still displays a jovial disposition. He’s able to joke and laugh with Midge despite certainly dealing with some serious PTSD. However, after Madeleine’s death, Scottie is thrown into a deep, uncontrollable depression. It appears there is no saving him from his vertigo now.
The ‘Vertigo’ Shot
The ever-famous vertigo effect, which is probably the most well-known camera movie in all of cinema, is obviously credited to and indebted to this film. It’s been used by Steven Spielberg, Martin Scorsese, Spike Lee, and countless other filmmakers to great effect.
The effect is achieved by zooming the camera in while simultaneously tracking the camera back. The end result is a dizzying distortion of reality; the perfect visualization of both the physical and psychological torment that Scottie is feeling.
Although the vertigo effect shot is the most famous element of Vertigo’s cinematography, it is far from being the only impressive bit of camera work. Cinematographer Robert Burks went absolutely bonkers shooting Vertigo.
Originally shot in VistaVision, widescreen 35mm film stock, the photography beautifully captures the cinematic beauty of San Francisco. The Technicolor processing allows the movie’s juicy color palette to pop and jump off the screen. Additionally, Burks used fog filters while shooting certain scenes to enhance the film’s dreamlike atmosphere.
The beauty and majesty of the film was given new life after an insane restoration process by Robert Harris and James C. Katz. The updated 70mm prints and restored soundtrack have ensured the legacy of Vertigo will live on for film fans for years to come. If you’ve watched any recent 4K incarnations, or been lucky enough to see Vertigo on the big screen, you are most likely watching a version indebted to Harris and Katz’s tireless work to restore.
Legacy
In the last few years there was chatter of a potential Vertigo remake starring Robert Downey Jr. I suspect I speak for most film fans when I say that would be a horrendous idea. There is absolutely no need to remake a perfect movie. There is no new life that you can breathe into this film; no interesting spin that will make the exercise worthwhile. Let’s stick to remaking bad movies, or movies that can use a relevant update.
Plenty of filmmakers have used Vertigo as inspiration for their own original movies. Park Chan-wook’s Decision to Leave is a perfect example of a modern film that pays homage to Vertigo while still being its own thing.
All of this is to say, Vertigo is undoubtedly one of the greatest movies ever made. Its imprint is felt all over cinema. It’s almost impossible to understand the full language of cinema without being familiar with Vertigo. So go watch if you haven’t, it is essential viewing anyway.
Share your Vertigo trivia or memories down in the comments below!
