Vertigo (1958)

In Vertigo, just as in reality, the perception of another is skewed by the perceiver's desires. We often paint a different picture of a person than who they are in order to mold them into our subconscious picture of perfection. Whether it be traits tacked on from past relationships or even a denial of traits that are thought of as lackluster in that person. Often we are the ones changing the perception of others in order to fulfill their desires as well. Reality is as much about the truth we discover on a regular basis as it is about the lies we tell ourselves and others in order to shape it. The lens in which we project our image of reality can cause as much truth, artifice, romance, excitement and emotional response as what Alfred Hitchcock's camera portrays in his masterpiece Vertigo.


A concept at the forefront of the film is that of memory and the attempted recreation of the past. Our past and our memory inform our decisions, desires and the way we see the world. This is portrayed in the film by the character of John 'Scottie' Ferguson(James Stewart). Through the course of the film we see how the past and his memory of it, no matter how skewed, informs his tendencies and behavior. He takes his obsession and love of an already constructed image of someone and objectifies it further. The woman he is in love with never existed — it being a calculating ruse. Does he love the woman or the idea of the woman that she constructs for him?


It is in this respect that it becomes a ghost story, but with no literal supernatural aspects. Hitchcock perfectly displays this through the style of the movie. It has an eerie dreamlike quality that makes it feel as such. This is portrayed in the wardrobe worn by Madeleine(Kim Novak), the stark color and lighting and the haunting score by Bernard Hermann. The setting of San Fransisco is beautiful and picturesque. Hitchcock likened it to the closest thing the United States had to Paris. It's no wonder he lovingly shot it and let it become a character in the film. It's also no wonder that both Scottie and Madeleine loved to wander it's endless hills.


Through the first part of the story we are in the dark just as Scottie is — our perspective is of his subjective view of the investigation. In the second half, this is not only changed but so is many other factors in the narrative. The characters drastically change and we see role reversals in terms of point of view. The second half has an eerie parallel in the way the scenes play out in comparison to that of the first half. While Vertigo begins as a mystery, a thriller and possibly a ghost story, it ends up becoming a very dark and obsessive love story.


Vertigo is a film that is perfectly cast in every respect. The role of Scottie is as fitting of James Stewart and his skills as his sharp suits are in the film. His rhythm, his cadence and his ability to make you care for a character, which was never more important than in a film such as this, is a testament to his abilities as an actor. It doesn't hurt that when necessary he lends certain scenes with a playfulness, wit and charm that were vital for the movie to not become too dark and depressing. He is joined by the multifaceted and ethereal Kim Novak. Her role is very demanding and one of the best female roles written in a Hitchcock film. She has you empathizing with her in a way you wouldn't expect towards the end. It lends weight to the tragic proportions the film takes on. Scottie is someone that wants what he can't have and it's abundantly clear in his interactions with Midge, his wonderful ex-fiancee who does everything short of throwing herself at him. She is played by Barbara Bel Geddes with a great cheerfulness and is the most endearing character in the movie. It's a small but vital role in keeping a balance in tone and in showing other aspects of Scottie's character. The rest of the cast is rounded out with fine character actors, but it's those three that shine particularly bright.


Hitchcock is a director known for his thrilling and unabashedly entertaining films. None of his others ever reached the depths and ideas that Vertigo contains. This was a personal film for him and it shows in his attention to detail. He was merging art and entertainment in a way that very few films have achieved. He plumbs the depths of the human psyche to reveal themes of obsession, guilt, unrequited love, identity and the nature of memory that are all too relateable to most. He took some of the most base of human emotions and put them in flawed characters.

Vertigo is not only Hitchcock's best, but one of the all-time greatest films. It can question your perception of the world and the way you approach it. The memories you have and whether they're as reliable as you think they are. Your identity and what kind of masks you put on with various people. The love you feel for another and if it's built upon reality or a form of reality molded by both parties. It's also a visceral thriller that keeps you guessing until it's final frames. Vertigo may forever mold your reality, because as the screen goes to black, the final image may be burned into your brain as deep as the image of Scottie's love is in his own.