Vertigo
Chad'z rating: ** (out of 4 = fair)
1958 original version: not rated, 128 minutes [2 hours, 8 minutes]
1996 restored version: PG, 129 minutes [2 hours, 9 minutes]
[drama/thriller]
starring: James Stewart (John "Scottie" Ferguson), Kim Novak (Madeleine Elster, Judy Barton), Barbara Bel Geddes (Midge Wood), Tom Helmore (Gavin Elster); written by Alec Copperl, Samuel Taylor, produced and directed by Alfred Hitchcock, based on the novel "D'Entre les Morts" by Pierre Boileau, Thomas Narcejac.
They say you know you're going crazy when you think you're normal and the rest of the world is insane. That's the feeling I got watching "Vertigo," a pseudo epic story about love, betrayal, classic irony, but most of all insanity. To truly appreciate the film one must realize all the characters are insane, and yet still sympathize with them and that's just an unrealistic expectation.
The story starts off in an interesting manner by introducing us to John "Scottie" Ferguson, a San Franciso detective who forced himself to retire after a traumatic incident left him with a permanent sense of agoraphobia (fear of heights). While at his friend Midge's (Bel Geddes) apartment, he wonders if he can beat his phobia if he takes it a little bit at a time, unfortunately, he can't. The film makes such a point of showing his agoraphobia, it's obvious it will be vital to the plot at some point (hence the title), especially as some kind of ultimate weakness.
Most of the first act involves interaction between Scottie and Midge and his old college alum, Gavin Elster (Helmore). Elster hasn't seen Scottie in years but feels he is the only one who can help him. He believes his wife has become possessed by some kind of supernatural entity and he wants Scottie to follow her to see what she does and where she goes. Scottie scoffs at Elster's notion, but decides to take the case anyway. Here is where the essential aspect of the film kicks in, but the direction the film takes is a misguided one. It sets up an entire plotline which will later be revealed as one big illusion, that is, if you don't figure it out first.
And so Scottie embarks upon his quest, following Madeleine Elster (Novak) from her home, to a florist, to a cemetery, to an art museum, and back home. Little happens in terms of plot development, and much of the middle act seems to serve no purpose. You have to wonder why Madeleine never suspects she is being followed, and why Scottie doesn't try very hard to be silent and invisible. Her wandering leaves clues to her behavior, which Scottie pieces together (but not through any interesting detective work). He believes she thinks she is possessed by the spirit of her great grandmother, whose portrait she stares at in the museum and whose tombstone she leaves flowers.
In the spirit of such epic-yet-subtle romances, it's clear this film is not everything it seems. When Scottie saves Madeleine from a suicidal drowning attempt, it's obvious the two are in love when she is revived. I refuse to accept love could occur between these characters, especially through such generic motions. This is one of those films where you're not supposed to realize the two barely know each other (even after they start spending time together), because the romance will later lead to more profound themes. The fact the film condones what is seemingly adultery is also quite twisted.
I'm not sure how to describe the sudden shift the film takes about halfway and two-thirds through. Basically, everything that happened was just a conspiracy perpetrated by Elster to cover up the murder of his wife so he could be with his lover. I'm sure this is an attempt at telling a story of a perfect crime spoiled by love, but upon close examination it doesn't seem that way. This is where you realize the main characters must be insane because of the trouble they go through when easier, simpler methods are available. But the point of the film is not the conspiracy, it is simply an allegory for the most tragic of romances, that is, a supposedly perfect one which never really existed.
The final act is like a completely separate film, but the central themes carry over. It's inspirational in one way as it seems like a classic Greek myth happening in modern times. But this is also why the film fails: its usage of the classical elements are so obvious and predictable they seem more cheesy and stupid than thematic.
In fact, if there's any reason this film is sub-standard, it's due to the poor storytelling. Hitchcock is supposed to be a master of suspense, but I often found myself restless and bored. Most of the performances are satisfactory, but the motions the characters go through are dull and repetitive.
"Vertigo" is just so dependent upon its themes it fails to be entertaining as a film. It's just too bizarre to take seriously... or however we're supposed to see it.
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