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Vertigo
Year:
1958
Country:
USA
Genre:
Crime, Thriller, Mystery, Romance, Film-Noir
IMDB rating:
8.4
Director:
Alfred Hitchcock
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
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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Reviews
Over-rated sellout
Alfred Hitchcock is the master of thrills and mysteries... so knowing that he made this just makes me hate it even more.

Every old Hollywood glam cliché is thrown at you. you like elegant women staring off into the horizon? damsels in distress? Kissing on the beach and the waves crash in the background?

This movie's got you covered!

The plot is straight forward enough, you know what's happening ten minutes in, what the movie banks on however is your investment in the character and watching their decent into obsession.

The actors were pretty good (though those eyebrows were distracting... did she use a sharpie to make them?) and the overall movie very scenic but it didn't feel like a Hitchcock movie until the very last scene, that's you're only clue to who could have this twisted sense of justice. otherwise it just felt like a sell-out, this is popular so do this, people like that so add it in...

One of my least liked movies by Hitchcock, skip it and watch a good one like rear window.
2016-05-18
quick reviews!
yes, quick, as others reviewers have gone into greater depth, and i can't add anything new.Oh baby, what a film! 1958!!! This has plot twists, even effects that put movies of today to shame. One of the most complex films ever made, with something new arising with each viewing, I think this, along with The Seven Samurai, is the best movie of all time. The first time I watched it, I had no idea how it would end, and what would become of Scotty and Madeleine. My only qualm is the fact that Midge completely disappears from the movie in the second half. Why?! It's not important though. Superbly shot, and immaculately directed, as always. 10 out of 10
2004-05-23
SPOILERS GALORE! If you've never seen the movie, DON'T READ this review!
I suppose this is some kind of masterpiece, what with the absolutely overwhelming photography, powerful score and all - but I must say I just couldn't get into it. We're made to be patient through a looooong exposition (Scottie following her around), which I didn't mind at first because I said, "Hey it's Hitchcock - the payoff will be worth it." Well, it wasn't. Scottie's obsession was inexplicable to me (and, yes, I realize that Kim Novak is hot); maybe the writing was weak in not giving him a strong and clear enough motivation for going over the edge (what were his other romantic attachments like? Why is *this* one in particular so extremely excessive? Knowing these things would help) or maybe it's just that I can't buy Jimmy Stewart in this type of role. He projects too much groundedness, dignity and common sense for him to be convincing as this kind of obsessional basket case (the scene with him in the asylum was particularly embarrassing and unconvincing; he doesn't look "crazy" - he looks like Jimmy Stewart just refusing to say his lines). Maybe an actor a bit more rumpled and on the edge - Robert Mitchum, say - could have brought the part off better (and I'm a *huge* Jimmy Stewart fan, just so you don't get the wrong idea).

My biggest problem, however, is with the final third of the movie. Excuse me, but I just don't think it was a good idea to reveal the murder plot and its actual machinations two-thirds of the way into the film. Not knowing for certain up until the very end whether "Judy" was really "Madeleine" or whether Scottie was indeed just imagining things would have been much MUCH more effective. It would have pulled the viewer in, kept him guessing and psychologically on edge all the way through. Once you know that Scottie is "correct" in his assumption, not only is the tension gone and you're no longer immediately connected to the story, also you can't truly buy his craziness or obsession as a thematic point since, after all, he's "right." I believe this to be one of the all-time biggest scripting mistakes in the history of cinema.

Hitchcock has said, though, that suspense is not what he was primarily after in this movie. He wanted to reveal the murder plot early so it wouldn't get in the way of the attention paid to Scottie's disintegration. But without the suspense, Scottie's disintegration just looks stupid. It's like the end of the movie has already come and gone, and yet the director is still forcing us to sit through a drawn-out and pointless epilogue that just takes foreeeeeever. . .

And the ending - what's with that?! She sees a nun and so she jumps off the roof? It's absolutely RIDICULOUS - so abrupt and nonsensical, as if the editor suddenly told Hitchcock that he had to end the film RIGHT NOW, and he had to think of something fast. Clearly, the best ending (if the film had to go this long) would have been for her to slip off the edge, and then have Scottie try but fail to save her - thus mirroring his failure to save the cop at the beginning of the movie from falling, giving the whole thing a neat little symmetry. That Hitchcock failed to see the absolute rightness of this conclusion makes me wonder about his status as a cinematic genius.

Well, ok, I won't go that far - Hitch's reputation is safe. But Vertigo's isn't; this is no masterpiece, and far from the director's greatest work. Instead, this is the one film where he deserted his "popcorn" approach to creating thrills and opted for a more pensive and "mature" style, thinking this would prove him the artist so many denied that he was. It does just the opposite - by playing down what he did best (building and sustaining suspense), Hitchcock is left rudderless, and his attempt at "adult" themes just look embarrassing.

It's beautiful to look at, of course - one of the most sumptuous visual experiences in the entire history of movies. The redwoods scene, and the Golden Gate Bridge - fantastic! The scenes in the museum, too - absolutely ravishing. But, alas, great photography does not make a great movie. If only Vertigo were a coffee table book, then it might truly deserve the classic status it has been accorded.

I don't know, I guess if you're a fan of the technical aspects of cinema, and love Hitchcock for his visual bravura and like to analyze his technique, there's probably a lot here for you to enjoy (and is no doubt why it's so loved by other directors). But if you're like me, and enjoy Hitchcock films for their pure ability to keep you tense and on the edge of your seat, Vertigo is not the film to watch.
2000-02-17
Beyond Amazing
Over the years, this film has been regarded as one of Hitchcock's masterpieces. Its been called the most personal, emotional, and complex of Hitchcock's films. I agree with all of these things except for one, this film IS Hitchcock's masterpiece work. All of the others pale in comparison to this. There are phenomenal performances here by Jimmy Stewart who plays the biggest anti-hero of his career and Kim Novak whose stunning beauty and exceptional personalities shine through this dark film. Barbara Bel Geddes provides great support as well. Everything about this film, the cinematography, the story, the depth, etc. leaves you mystified and transfixed on this dizzying, surreal artwork of a film. It truly is flawless. If you are a Hitchcock fan and haven't seen this you need to get up right now and buy, not rent, this as soon as possible!
2005-10-25
Alfred Hitchcock's Pre-"Psycho" Psycho
Vertigo has got to be one of the most absurd and disturbing movies about men and their "modern-day" mental illnesses that I have ever seen. It's true.

The mental illness that I'm talking about here is, of course - Men's totally twisted and fanatical obsession about having complete and absolute control over women.

You know, I'd say that when it comes to one of Hitchcock's most psychotic "movie-psychos" of all-time - Scottie Ferguson here in Vertigo makes Norman Bates from Psycho look, by comparison, as if he were "normal", yes, NORMAL. I mean, Scottie was one really whacked-out maniac, that's for sure!

Personally, I think that director Alfred Hitchcock went way too far out on a shaky limb with this one. And, being way out there, he ended up losing his balance and, literally, getting "vertigo", himself. This film is nothing but a bird's eye view of a supremely grotesque freak show with Scottie (representing the average American psycho, I mean, the average American male) as the main monster of attraction.

At a running time of 130 minutes, Vertigo really only begins to pick up steam in the last 30 minutes. The first 100 minutes of it is just endlessly drawn out 'build-up', extremely drab, most of it.
2015-05-23
Hitchcock's once-overlooked masterpiece
John "Scottie" Ferguson (Jimmy Stewart, never better) is a retired detective with a severe fear of heights after a botched chase to capture a criminal. Due to his newly acquired acrophobia, he retires and wanders around the beautiful streets of San Francisco. Out of the blue, an old college friend Gavin Elster asks him to follow his wife Madeleine, as he believes that Madeleine may be possessed by the spirit of her great-grandmother, drifting in and out of reality and into trance-like states of mind. So Scottie agrees to follow the mysterious blonde (Kim Novak) as Hitchock guides us throughout San Francisco and into his strange and dark mind. Little by little, Scottie begins to become infatuated with Madeleine, and after he saves her from suicide (she jumped into San Francisco Bay) and decides to help her, he falls madly in love with her. In finding pieces of the puzzle to Madeleine's mystery, their journey takes them to the San Juan Bautista where Madeleine meets her end by tumbling off the bell tower, presumably by suicide. Scottie tried to save his love but his fear of heights stopped him. For the next year Scottie falls into a deep depression, feeling guilty for his impotency to save his love. His depression is halted when he sees Judy Barton (Novak again). Judy isn't like Madeleine--she's plain, in touch with reality and even vulgar when compared. But her face looks so much like Madeleine. Scottie begins to court Judy first for herself but eventually he tries to mold her into the beauty he lost prematurely, unaware that Judy has a big secret up her sleeve.

When it was first released, Vertigo didn't get good reviews and it didn't make money at the box office. People didn't understand the bizarre dream sequences that were so ahead of their time, they didn't feel sympathy for the characters (at the end, even Scottie is unlikable), and the BIG TWIST is given away in the middle of the movie instead of at the end, a la Psycho. Even I had my complaints about that last one, yet after a second viewing I realized that this movie wasn't even about what really happened to what really happened to Madeleine; it's about men's psychological--and sexual--desire for the perfect woman, even if she's out of touch with reality. This movie is considered Hitchcock's most personal film, as he could be domineering with his actresses, trying to mold them into his own dream. After the "failure" of Vertigo, Hitchcock never worked with Jimmy Stewart again, unfairly blaming him for not being able to draw a crowd on account of his age. Luckily for everyone, Vertigo has gotten better with age and is no longer forgotten. In the late 80s Vertigo started popping up on Top 10 Films of All Time lists, and today it's considered Hitchock's best film, and most definitely one of the best ever made.

The biggest reason for Vertigo's late success is because it is Hitchcock's most analyzed film and because it works on a psychological level; The film points out that men would rather have an unavailable, beautiful woman who is out of touch with reality than a woman who understands her surroundings and is utterly available. This is pointed out twice, once with Midge, an ex-fiancée and good friend of Scottie and later with Judy, who tries to make Scottie love her for who she is and not because she reminds Scottie of Madeleine. The first hour is drawn out very slowly, and while it's not as fast-paced as other Hitchcock's films, he uses it wisely. He starts by first gaining--later testing--our sympathy for Scottie; when he's hanging for his dear life in the opening scene, we pray for him (even though we know that there would be no movie if Jimmy Stewart dies in the first 3 minutes). When he's chasing Madeleine up the bell tower, we hope that he can get there in time and kiss his lover. And when the romance turns dark in the second outing to the bell tower, you feel just as caught in the middle as Scottie does in that moment. Hitchcock blurred the lines between victim and villain, and he earns our creative respect for him.

The key element to why Vertigo works so well in the end is because of the actors. It's practically impossible to think of anyone other than James Stewart, who embodied the everyman, and for that reason is so convincing in testing our sympathies. It's all in the minimalistic ways he does it, with the slightest crinkle in the forehead or the movement in the eyes doing evoking more emotion than most actors do screaming and crying. This is his best performance next to Mr. Smith Goes to Washington. And Kim Novak is ravishing and haunting both as Madeleine and Judy, utterly convincing in both roles. With my respects to Grace Kelly, Novak just may be the most mysterious and convincing Hitchcock blonde to grace the screen. Their chemistry together, despite their age difference is explosive and natural.

Buy--don't rent--this DVD and you'll find yourself falling for every detail of this brilliant film.
2006-12-21
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.
2007-08-07
Disappointing and corny
How this film got into the top 250 films on here remains beyond believe to me and I simply don't understand all the fuss about it.

I have nothing against slow paced films, some films need it to make you think (Tarkovsky's "Stalker" for instance), but here it is it's downfall as one has by far enough time to realise everything that doesn't make any sense at all. I'll give a few examples.

When Scottie (James Stewart) follows Madeleine Elster (Kim Novak) through San Francisco you can't help but wonder why on earth she doesn't realise it and how on earth a former police officer is so poor at doing it. He's following her so closely you'd expect him to crash into her car any time. This is highlighted when she turns into that small backstreet to get the flowers. There is no-one else, but still he parks his car a few metres from her's and still she doesn't get suspicious. This must also be the only film set in San Francisco that manages to show no streetcar at all.

Scottie has a friend who seems to love him in Midge (Barbara Bel Geddes, she probably gives the best performance in this film), but it remains beyond my imagination why he doesn't fall in love with her but the artificial looking Madeleine. This guy is making life difficult for himself and during the entire film I started disliking this character more and more. Sadly Midge disappears about half way through this film.

Then, when Scottie meets Judy in the street and he starts making her life a mess one wonders why she doesn't simply tell him the truth. She doesn't seem to be that stupid, but fails to realise that this may well stop him from trying to turn her back into Madeleine. During that part of the film I also started hoping for Scottie to die at the end of the film as he got so obsessed and rude with Judy that it angered me. Unfortunately this didn't happen, but Judy got so scared by a nun that she virtually jumped of that tower. Comically, really.

If this would have been the first Hitchcock film I had ever watched, then it would have been the last, too. Some of the acting is pretty lame and unconvincing, especially from Stewart, but Novak surely could have done better in a few scenes, too. Bel Geddes is good, though. In general the story/plot isn't bad at all, but the translation into a film leaves a lot to desire. During the entire film I have had ideas of how the scenes could have been shot more believable and I am as far from a director as it gets. The pace of the film is, as I have stated before, too slow for the story. Stewart seems to be behind the wheel most of the time, following Madeleine in her aimless journeys. All in all I found this film extremely cheesy. The music overly exaggerated many scenes and made things kind of predictable. Some of the shots are nice, though, but it is an absolutely pointless film. I won't ever watch this again and suggest you don't either.

Rating this waste of time 6/10 is me being generous.
2009-05-23
A valiant, but flawed effort by The Master (Possible Spoilers)
Vertigo is a good movie by a great director. Viewing Vertigo several times recently, and reading Dan Aulier's brilliant in-depth look at the making of this movie, I am at a loss to explain what I see as a vastly hyperbolic reaction to this movie by many people both in the realm of professional critics and posters on IMDb. This is not Hitchcock at his best, although I do believe it could have been. True, Hitchcock was at his peak in this period, but there are enough flaws in Vertigo to bring this potential masterwork down several notches.

The first problem in Vertigo lies with the story's failure to establish Scottie Ferguson. We first meet Scottie as he fails to make the rooftop leap and is hanging by a gutter of a building several dozen feet from the ground. After this we see him making his decision to retire from police work. The audience is deprived of any referent to the type of person Scottie was before the incident on the rooftop. This failure to establish the character and set a benchmark to measure his return by in the closing minutes of the film deprives the audience of a vital connection to any character. But this problem could have easily been overcome had the third fatal flaw, which I will take up soon, been avoided.

The second problem in Vertigo is a decision by Hitchcock and George Tomasini, the editor, to insert a scene shortly after Scottie meets Judy that reveals all of the secrets the story holds. This throws away the element of suspense that might have had audiences on the edge of their seats during the final part of the movie, unable to relax even at the moment of revelation for Scottie's character as the movie would sweep them up and hurl them through the roller-coaster ride that the climax of the movie should have been. But I think Hitchcock and company made the decision as a direct result of an even earlier and worse mistake.

The third, and most glaring, mistake Hitchcock made with Vertigo was in the casting. Most of the cast does work ranging from passable to outstanding, with one notable exception: Jimmy Stewart. In Aulier's account of the Vertigo project he details how Stewart came to star in this movie, which had a lot more to do with the desires of Lew Wasserman, agent to both Stewart and Hitchcock, than good judgment. Jimmy Stewart was the wrong man for this role, and Aulier recounts that Hitchcock himself blamed Stewart for Vertigo's dismal showing at the box office. Hitchcock concluded that Stewart was too old for the part and refused to cast him in North by Northwest because of this. But I don't think Stewart's age was the real hindrance here, I think Jimmy Stewart tried to step way beyond his range as an actor and falls flat in certain key scenes. Mr. Stewart does a passable job in the first half of the movie, and is quite believable as the ex-detective brought low by his vertigo-inducing acrophobia. The first real hint of trouble comes in the last scene of the first half, Scottie sits in a sanitarium incommunicado and withdrawn as his stalwart friend Midge tries to engage him in conversation. Stewart's playing of this borders on the comedic with a deer-in-the-headlights gaze that calls to mind one of the Warner Brother's toons after being conked on the head rather than a man ravaged by guilt. It drags the scene down so much that Barbara Bel Geddes is left to carry it on her own, and she does make a valiant attempt but her efforts are hindered by Stewart. From this point forward the movie enters its most crucial phase and Stewart's ineffectualness grows more obvious in each successive scene. In the scene where Scottie tries to convince Judy to change her hair color Stewart's phrasing and pitch are semi-comedic. The lack of chemistry between the two leads brings the haunting scene of Judy's emergence from the bathroom to a crashing halt as Stewart is unable to infuse his performance with even a modicum of passion. But a few minutes later Stewart's performance goes completely south as the movie's climatic moments unfold. Scottie is righteously angry as the truth dawns on him, but, unfortunately, Stewart does not play angry well at all. His maniacal and slightly feminine delivery from this point on detracts from what could have been cinematic magic. At a point in the movie where Scottie should have regained his senses and his sense of manhood his tone and pitch shrilly foreshadow the strident tones of Mrs. Bates in Hitchcock's next project.

No doubt my remarks here will be met with disdain by some of the film's more ardent boosters on IMDb. I shall join the ranks of the great unwashed heathens who do not understand great cinema nor Vertigo's rightful placement at the apex of that pyramidal structure. I do appreciate Hitchcock's use of color as subtext in the film (I am particularly fond of the color and lighting shifts in Midge's apartment when she allows Scottie to view her painting). I also appreciate and easily grasp the undertones of Hitchcock's own obsessive behavior with the leading ladies of his work, but wonder if that subtext was intended as dramatic irony or whether Mr. Hitchcock was even aware of the mirror he was peering into. But, the brilliant touches of a master artist are not enough to make up for what this film lacks. Hitchcock was indeed The Master, and his body of work stands above a field of mostly mediocre efforts that his peers were turning out, and even today not one exists who can approach his mastery, but to suggest that Vertigo is the cinematic equivalent of Leonardo's Mona Lisa is ludicrous and undeserved.
2006-07-15
dream vs. reality
Warning contains Spoilers - Hitchcock beautifully explores the need for illusion in Vertigo. Scottie, played by James Stewart, is a man who drifts without direction, who can't make up his mind about anything. He is deeply dissatisfied with the real world. He seemingly has a choice between two women. Midge is open, practical, and unexciting – a representative of life as it is. Madeleine is exotic, mysterious, complex, a perfect fantasy figure. He falls in love with Madeleine and lets her lead him into her world of drama and illusion. She becomes, for the audience as well as for him, the wish fulfillment of the dream woman. Two-thirds of the way through the movie, having strongly tied us to this character, Hitchcock betrayals us – she dies suddenly and inexplicably, we are disappointed and confused. We are, surprisingly as disoriented as Scottie is. Soon after, Hitchcock explains what has happened, and we realize that we have been deceived, with Scottie, by a cheap trick. Neither audience nor hero wants to believe it. We both want her back. We prefer the illusion, false as it is, to the reality. Through Scottie we are made to see and feel the consequences of rejecting real people for a dream. Judy, a graceless, uninteresting girl, has been impersonating Madeleine all along. Still obsessed with Madeleine, Scottie forces Judy to recreate her role for him. At first she resists, wanting to be loved for herself, but then, like so many of us, she agrees to conform to his image of her. Otherwise she will lose him.
2005-10-28
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