1958 movie
Rating: 20/20
Plot: A skinny detective with a dopey, long-legged walk watches a cop fall to his death during a rooftop chase and develops a bad case of the titular inner-ear disorder. At least that's what I think it is. I'm not in the mood and don't have the time to look that up, so if you're somebody who stumbled upon this blog because you're trying to figure out what vertigo is, I apologize. I know you have to wear a corset after you get it though, and as far as I can tell, you also develop unhealthy infatuations with women who have weird eyebrows. The detective--Scottie or John or Johnny, depending on who you ask--agrees to follow an old pal's wife around to find out whether or not she's possessed. It all leads to an encounter with a creepy nun.
Every guy remembers the moment when he reached that magical age and first wanted to sleep with a girl. For me, that girl was Natalie. And cinemaphiles, if they're anything like me, probably remember that first movie that made you fall in love with movies. I watched Vertigo with my dad when I was a freshman in high school, and it's been my favorite movie since then unless I'm in a mood and tell people that The Big Lebowski or Manos: The Hands of Fate is my favorite movie. Regardless, Vertigo is the first movie I ever wanted to sleep with.
It's a movie I've loved for more than half my life without fully understanding. I'll watch it again and probably another time or two before I die, and I doubt I fully grasp what's going on here. There's a mystery that attracts me. It's a movie that I feel that I understand on levels that I can't understand. When I was a kid, it was the ending that really grabbed me. Holy hell! I was tickled that a movie could end like that. Of course, I still love the ending--the "I heard voices" creepy nun thing still almost shocking even when you know it's coming. Now, I like to go beyond the story with poor Scottie. He'd already lost the love of his life once not far removed from the traumatic experience that ended his career, and now he's lost her again. At least crazy Midge would probably still screw him if he gave her the chance. That's, of course, if Scottie can even get it up. We start with references to the guy feeling less than a man because he has to wear a corset, and the film's first dialogue links sex and brassieres with fear and dizziness. And the way Jimmy Stewart walks in this movie seems to suggest that he's not quite capable. That's right--Jimmy Stewart walks like an impotent man. All those references to water and boats, that "dolly cam" or whatever trick Hitchcock uses to show the audience the protagonist's vertigo that makes the staircase look so vaginal, just a monstrous oppressive vagina? I should have kept track of phallic symbols in Vertigo. There's the bell tower, obviously, giant sequoias (one which is cut down), and Coit Tower. Coit Tower? No wonder everybody in San Francisco is a homosexual!
And I can piece together that place and time is really important to this movie and its characters, but I can't get beyond that. Look at all the references to time though: an early picture in the husband's office of San Fran in the 19th Century, a line about how "anybody could be obsessed with the past," a cross section of the cut-down phallic symbol, a perfectly-preserved mission, Jimmy saying that they're "going back to the past, one more time," the amount of times characters talk about how it's too late. And the idea of control--Novak's character is controlled by two different men--hair color, dress, activities--in this movie. What's going on there?
Calling Hitchcock a master isn't exactly profound. His genius is on full display in this movie though. He uses setting so well. I love seeing San Francisco in the 1950s, and it's winding undulating streets almost seem to symbolize Scottie's experiences in this movie. The backgrounds often reflect the moods or changes in moods, most notably with the sequoias and the rocky beach where Scottie and Madeline kiss for the first time, a perfectly timed kiss accompanied by rising music and a perfect splash. Incredible. A lot of times, Hitchcock uses the setting to make Novak look absolutely stunning, a gal who--despite those weird eyebrows--is worth obsessing over. That profile against a background of gaudy red wallpaper? The colors zing in this movie. Speaking of Novak, how wonderful is the provocative title screens with Novak lips and an eye close-up that might, unless I'm just goofy, recall the eye-slicing shot from Un Chien Andalou? More shots just, especially after repeated viewings, drop the jaw. I wonder if I'm--with the knowledge that she knows she's being followed--really picking up on things during Scottie's following of Madeline. I could have sworn that I picked up a subtle glance or two. More tricky Hitchcock when Stewart's wandering around and thinking that he's seeing Madeline. I just know that's Novak in some of those shots. I also like the way Hitchcock makes the ceiling look so large and oppressive following that "trial" or whatever it was, Midge's walk down a gray hallway, that nutty dream sequence, the ghostly image when Judy puts her hair back and re-enters the room, the revolving kiss with the washed-out colors transforming into an entirely different setting before transforming back again, the really lengthy dialogue-free scenes where Scottie follows Madeline around with only the sound of footsteps and the music, the "dolly cam" and the shot of Stewart walking down the stairs after Madeline's death. Oh, and I love the slow pan across Scottie's apartment after he's saved Madeline from drowning in the bay, a slow pan that reveals her clothes hanging in the kitchen which lets us all know that he's seen her naked. This is a movie you watch and every single second seems intentional. If you've seen this movie recently, you're probably thinking, "Shane seems pretty easily impressed with all this," and maybe I am. But all these perfect little moments just add up to a perfect motion picture.
Stewart and Novak are terrific, really two of the finest performances you're likely to see. You really only need to watch one scene with a look the two exchange in the car on their way to the mission for the first time to find out that I'm right. Yes, Novak's eyebrows are the most distracting in the history of movies, but everything else about her is almost perfect. Perky breasts, eyes that know more than the audience does, lips that want to tell us more than the screenwriter is allowing her to tell us. My favorite Novak moment in this might be the first time she speaks, right around the 46 minute mark. Her "What am I doing here?" is such a simple but perfectly written line, another little part of this movie that just seems so brilliant when you watch this a second time. Stewart's even more brilliant in what I think is his best performance. If a Jimmy Stewart aficionado read this blog, maybe he could put in his two cents. He's masterful here though. The body language when he steps onto a chair, the way he stretches his neck to look at something, his gripping of a steering wheel. I also like how he walks up the hotel stairs, almost like he has to poop or something. The way his eyes examine Novak before and after the rescue, the madness in his eyes after Madeline's death, the way he becomes so quietly crazed, the little smile he gives Novak after she asks him what he is doing when they're making their second trip to the mission. He's speechless for a couple big chunks of this movie and still has this way of making his character say so much. It's brilliant.
Is this movie flawless? Probably. Sure it's got those eyebrows, and I'm not always entirely sure I like the big reveal and where it takes place. And sometimes, I have trouble figuring out why there's so much Midge in the movie. But then I realize that I don't know what I'm talking about and go back to believing that this is a perfect movie. It's one that I can't think of a single thing that needs to be changed about it.
Bernard Herrmann's score is one of my favorites, and so is that movie poster up there.
Next in the "Shane Reviews the Greatest Movies of All Time" series is Citizen Kane, the former "Greatest Movie Ever" on the Sight and Sound movie list. I'll write about that one on October 1st and not like it as much as Vertigo.
Blogger has changed how things work, and it looks like I can't put words next to the poster now. I apologize for any inconvenience this may cause for those of you who, like me, don't like when things change.
ReplyDeleteIts a great movie. Its not my absolute favorite Hitchcock, (It would be fourth or fifth all time) and its (for me) only the second best Stewart/Hitchcock team up. (Rear Window being my absolute favorite Hitchcock film) but this is "The Master" we are talking about and even his fourth or fifth best movie is a classic.
ReplyDeleteAs you well know, both Cory and myself are two of those "Stewart Aficionados" that you mention in your review. He is, in my opinion, the best natural movie actor of all time. Take a look at his work in the 1950's. Bend of the River, The Naked Spur, Harvey, three Hitchcock films, The Glenn Miller Story, Anatomy of a Murder.
He made so many different characters his own, and while you are watching his movies, you never think to yourself "oh thats Jimmy Stewart" He pulls you in, and brings the movie to you.
Heres a little blurb about Stewart that I found. Its very telling
"He is the most represented leading actor on the AFI's 100 Years…100 Movies (10th Anniversary Edition) and AFI's 10 Top 10 lists. He is the most represented leading actor on the 100 Greatest Movies of All Time list presented by Entertainment Weekly. As of 2007, ten of his films have been inducted into the United States National Film Registry."
I give Vertigo a 20. Its BARELY a 20 but I was sitting here thinking about it and realized how good it is. Its a movie that takes work to get to know, but once you do you want to revisit it over and over again.
Rear Window, North by Northwest, Psycho, Strangers on a Train?
ReplyDeleteWhenever I see Stewart, I can't get over how much he looks like Nicolas Cage. I'm being completely serious, too.
My first two are solidly
ReplyDeleteRear Window
North By Northwest
Then it gets tough. Psycho third? Or should I go with Vertigo? And of course there is Notorious, which was the first Hitchcock film I ever saw.
I can see putting Vertigo third on my list. I admit to appreciating it more every time I see it.
I have no problems with Rear Window which I gave a 19 somewhere on this blog.
ReplyDeleteI thought this was kind of cool: http://www.youtube.com/watch?v=4vHRw9XiFMI
'North by Northwest' isn't on the blog. I saw that one with my dad, too. 'Notorious' isn't on here either. Both great.
Pain, fear, love, lust, obsession, hurt...I would have no problem calling this Stewart's greatest performance because he goes emotionally deeper into this role than any other. Sadly, he kind of figuratively shoots his wad in "Vertigo", and only once ("Anatomy of a Murder") comes close to this incredible performance. I try to imagine what it must have been like to be a Stewart and Hitchcock fan in 1958, because this movie is as shocking in it's own way as "Psycho", which followed two years later.
ReplyDeleteThe movie is a perfect collaboration of two greats at their best. Every scene is like a work of art, with layers of meaning. Possibly Herrmann's best score, stunningly beautiful cinamatography, and amazingly constructed scenes make this a strange and bizarre film unlike any other, and constantly fascinating.
Many scenes from this are favorites, such as the 360 kiss, the chase across the rooftops, Madeline's jump near the Golden Gate, Stewart's obsession in stalking Madeline and changing Judy, but for me, nothing compares to that last 10 minutes. I am still haunted by watching Stewart literally dragging Judy up to her doom and the climax of the film. His acting is a perfect blend of naked pain, rage, physicallity...Jesus. The way he spits out "You were very apt pupil too, weren't you?", or how he nearly breaks when he tells Judy "You shouldn't have been, you shouldn't have been that sentimental". It is maybe my favorite Stewart scene, and that is really saying something.
If there are any flaws in this mind-fuck masterpiece, they would be the strange graffics as Jimmy is losing his mind, and also Novak. She is very good, but has always felt like a slightly B-class actress, where everything else is off the scale. "Vertigo" has always been an 18, for me (thanks, Kim), but objectively is easily a 20, and one of the most unique films, ever.
By the way, your Coit Tower line cracked me up. Now I'll never think of it in the same way, again.
Second by the way...I would also put "Notorious" near the top of all-time Hitchcock.
Sorry Shane, missed your "Notorious" mention.
ReplyDeleteHaunting is such a great word to describe those final moments. Watching that develop and resolve for that first time as a teenager is a movie experience that I'll never forget. I couldn't believe what I had just seen, and I kept trying to talk about it with people who could not care less about it. Kind of like I do with this blog, I guess!
ReplyDeleteIs 'Rear Window' also your favorite Hitchcock film, Cory? I forget.
Funny how the brain works. Earlier when I was typing my comments, Ashley was harrassing me about getting on the computer. I felt something was wrong, but many hours later, on the way home from Burgerville, I realized that I had typed the word graphics with two f's. Thank you for not righteously mocking me.
ReplyDeleteI would put "Rear Window" at the top, with "Notorious", "Strangers on a Train", "North By Northwest", "Psycho", and "Rope" all in the same league. Curious, have you seen "Saboteur" or "Foreign Correspondent"?
I didn't even notice the "graffics" or I would have righteously mocked you. My brain's fried right now.
ReplyDeleteI've seen 'Saboteur' and 'Foreign Correspondent' but I should watch them again. And 'Dial M' and '39 Steps'...or is the latter on my blog? I'll have to check.