Today I talk about Hitchcock’s ‘Vertigo which remains one of the greatest movies ever made. its is listed as the number one movie all time in hstory of flim.alfred Hitchcock’s VERTIGO is a movie that a film which functions on multiple levels simultaneously. One of the many movies that Hitchcock did in his lifetime was vertigo. It was not considered much of a masterpiece at the time. Vertigo is often considered Hitchcock’s most personal and emotional and complex of his movies that adresses many of the natures of what makes a great flim. Its today i am talking about it again for a talk. Lets begin. Hitchcock’s ‘Vertigo’The Unrelenting gaze
Hitchcock wanted to buy the rights to a novel called Celle qui n’etait plus (translated into English as She Who Was No More) by writers Pierre Boileau and Thomas Narcejac, but unfortunately for him, director Henri-Georges Clouzot had beaten him to it and had directed the 1955 movie entitled Les Diaboliques based on said source material but he would twa,so when the follow-up D’entres les morts hit the bookstores in 1954, the director had Paramount commission a synopsis before the novel even got a chance to get translated into English. When the studio secured the rights, playwright Maxwell Anderson (Anne of the Thousand Days, The Bad Seed) got the job of adapting the novel into a film. Anderson wrote a script entitled Darkling, I Listen a quote from English poet John Keats’ poem Ode to a Nightingale—and Hitchcock did not like it one bit, so he discarded the draft and brought in Alec Coppel (The Captain’s Paradise, Mr. Denning Drives North) instead. Unfortunately, his second pick did not satisfy him either, leading to Samuel L. Taylor (Avantil, Sabrina) being hired to write the screenplay from scratch, with the help of Hitchcock’s notes. Taylor wanted to take sole credit for his work, but Coppel would not have it, and objected to the Screen Writers Guild, after which both were credited and Anderson was left out. Kim Novak was cast alongside Jimmy Stewart, although the part of the female lead was initially intended for Vera Miles, who would later on play her most memorable role in Psycho. Miles became pregnant so the director chose Novak instead. By the time the actress was ready to start shooting after having taken care of her other commitments; Miles became available again, only to find out that Hitchcock had decided to stick with his new leading lady as he would find this tale of obsession. Vertigo follows John “Scottie” Ferguson, a police officer who discovers he has a fear of heights that manifests itself as vertigo, forced to retire after his condition results in him having to retire from the police force. He spends time with his friends as one day asked by a friend to follow his wife wants his wife Madeleine (Kim Novak) followed, but not because he suspects her of infidelity but rather because he is afraid for her mental health as he becomes obsessed with this blond woman to the point of madness.
Vertigo works as this factuality of the unrelenting male gaze that dominates and dictates both our shared collective reality and the majority of the narratives we as a species create and willingly consumes our obsession of it. We see yet another hand to it too as the collective look upon how the male gaze n obsession can drive one to madness as this movie can be viewed as clever breakdown of the male gaze as the idea of how scottie’s obression with creatring this perfect image of a woman that is same as hitchcock’s own obression of the hitchcock blond. the trope of his flims as he has always this perfect blond woman that is perfect to look upon the screen upon her as you gaze upon her as you see her is the perfect woman to scotties own fears known as acrophobia as way hitchcock captures this image is so amazing. The viewpoint must be fixed you see, while the perspective is changed as by using the dolly and zoom simultaneously as effect captures fhe fears of scottie trough his gaze of his fears as he sees the heights as he stops n looks upon ground is able show us the fears of him at that moment.
It is when judy becomes Becomes Madeleine we see her her change form judy to Madeleine we see the depths of madness of scottie as he is obresssed with this perfect woman. He has her even become this woman in his eyes to recreate her in his own image of this perfect woman.
Vertigo has another collective layer upon it to watch as you see it unfold upon the screen as it is fascinating to watch Vertigo unfold for the first third of the film presents us with what seems like a ghost story about possession that dabbles in the subject of ancestral trauma that has a repeating pattern over n over again. It’s also the nature of this movie too as you can watch it over n again finding new things each time. Jimmy Stewart gives a terrific performance in the role of Scottie a man recognizing his own limits. Bernard Herrmann’s musical score as the music is probably more important here than in most films, let alone most Hitchcock films as you see the music plays key part in setting the tone n moods of the scenes of this wonderful classic as the way you see the musical cues of the shifts of it as the gaze changes n moods changes n scenes changes it captures the movies collective tone of the gaze of our lead character upon the screen. Robert Burks Cinematography captures San Francisco as it richly captures the city in such richness and depth. There is color filter that does many tricks such the changing of colors on many scenes in a feverish way is part of this movie that mirrors the German Expressionist style. It’s only really an updated version of the superimposing of images and casting of shadows in films by Fritz Lang and FW Murnau that Hitchcock manages to capture psychological mood of a man that is driving to a point to find his own limits. Vertigo is a masterpiece with so many layers upon it but the one layer that shows throughout the movie is the gaze upon the screen. Everything about this film truly is marvelous n layered with many different ways to look upon this movie as its one of best movies ever made upon the screen.