Written by: Alec Coppel & Samuel Taylor
Starring: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones
Rating: [5/5]
Finding the balance between striving towards fantasy and accepting reality provides a helpful balance in living a productive life. Unhealthily leaning far too much in one direction, however, can bring an inequality that impacts not only oneself but as gets explored in Vertigo, can negatively impact others. Diving deep into the arena of obsession with reality, this film takes us on quite the ride bathed in rich colors and watching one of our most prominent actors in all of history take quite the turn.
Following a terrible casualty during his work as a detective, Scottie Ferguson (James Stewart) decides to hang up his boots. He then gets approached by a former college friend, Gavin Elster (Tom Helmore) who asks Scottie to follow his wife, as he’s concerned something’s up with her. As Scottie follows Madeleine Ester (Kim Novak), he builds a fascination and infatuation with her that begins to cross the line.
Often referred even on the poster, as Alfred Hitchock’s masterpiece, stepping into watching Vertigo comes with hefty expectations. Claiming something as the definitive work of a filmmaker who has crafted a treasure trove of masterworks truly must say something about what we receive here and while I will not say this film ranks as my favorite from the legendary director, it deserves all of the acclaim it has built. Not only does this transpire because of the mystery it takes us on, but the observation it allows textually, subtextually, and meta-texturally allows for such an enriching viewing experience.
At times, many who like to analyze films, like myself, catch on to things in these projects and perhaps give more credit to what the filmmakers intended to craft versus who we read into it. With Vertigo, we see a man in Scottie Ferguson develops from the boy scout we typically see Jimmy Stewart play evolve into something else completely. This decision upended the preconceived notion not only of the actor portraying him in the minds of audience members but almost makes his weaknesses the same of the very filmmaker piecing this together. The documented past of Hitchcock and his love of blondes to a disturbing degree need no explanation but when seen in the context of the way Scottie reacts to the women of this film makes it appear Hitchcock has some semblance of recognition. Whether or not this observation has any grounding can be questioned, but it does add some coloring to the many layers operating in this narrative and how Scottie’s obsession proves quite dangerous.
In a sense, this feature operates in the world of ghosts and the paranormal in what initially leads the investigation Scottie has with following around Madeleine and what transpires after a particular scene at a bell tower. We have these instances of individuals living beyond the grave even if it solely exists within the confines of one’s mind. A haunting that exists for one as part of a story and lingering mind of another. It operates in a manner where one use of it begets another in a manner that one could not possibly expect and ultimately defines what makes this feature so special.
Watching this film and taking in the rich technicolor makes for quite the treat in the way they pop and further drives home the emotion taking place. The deep red utilized in the wallpaper and other objects in the surroundings of Scottie certainly speaks to the desire he builds for Madeleine, especially when the film pivots into the idea of her rather than her physical representation. Contrasting it with the greens we see later in the outfits worn by certain characters makes quite a stark difference in how we perceive them, as well as Scottie. Of all of Hitchcock’s films color has not been such an integral factor and his overall use of the technicolor makes me miss when films look this striking in nearly an artificial manner only further adding to the overall effect this feature seeks to wreak on its audience.
Casting Jimmy Stewart in the role of Scottie Ferguson worked as a genius move in the way the audience steps into the story believing in the good of this character. Certainly, the beginning of the narrative shows him to serve as a typical noir protagonist. Someone here just to do a job as a favor to a friend and eventually gets stuck in a situation in which he cannot get himself out of. The direction, however, this feature goes in with Jimmy Stewart as Scottie only makes the latter half of the film all the more disconcerting in trying to find out in what ways the man will continue to go down this rabbit hole and refuse to accept the reality sitting right in front of him. Never has Jimmy Stewart appeared more menacing in the way dynamics shift and it reigns highly as one of his great performances on the silver screen.
While Stewart does plenty to front this film, plenty of praise must be heaped onto Kim Novak in the role of Madeleine Elster. Entering this feature as a sort of femme fatale and alluring figure, only to flip the script on us on multiple occasions proved quite astounding. She does so much by not even saying words and the impact it has cannot be questioned. Having to play multiple parts in what this film represents and also presents asks plenty of her in how she must conduct herself in this role and the way she so seamlessly makes it work speaks volumes of what she manages to accomplish, especially with what she dealt with on set.
While not having too much to do with its title, Vertigo takes on this perilous and haunting story of how a man can completely lose his way. The film begins in one way and manages to completely flip the script in ways that manage to continue to reveal layers to this story and how men always seek to control women. We get this through some impeccable filmmaking by Alfred Hitchcock and a duo of performances ranking highly amongst those who have worked with the legendary director. A truly mystifying film that gets better with each subsequent rewatch showing the genius at the center of this narrative and what it continues to reveal.
Films with Josh 
