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Four-Stars Movie Reviews: Vertigo by David Macdonald

And this is where

It’s not really a Wonderful Life for James Stewart as he plays an obsessed private detective, afraid of heights

“Vertigo,” directed by Alfred Hitchcock, is one of the greatest of all Holly- wood films,(A+) and con- tains numerous pleasures and oddities, unparalleled in the classic Hollywood tradition. The biggest peculiarity, at least in my opinion, is that this is not a “standard” Hitchcock production. Unlike more popular films such as “Psycho,” or “North By Northwest,” “Vertigo” does not place emphasis on action or suspense. Rather, its focus is the sick, twisted “romance” between the two

main characters, played by James Stewart and Kim Novak. This disappointed many who expected Hitchcock’s usual tricks, resulting in one of the great flops of 1958. Fortunately, “Vertigo” has endured to become one of cinema’s great achievements. Stewart plays a private detective, re- cently retired after an experience

I must be careful; those who haven’t seen the movie should read no further, for'there is much more to this film than meets the eye.

Tragedy strikes, and Madeleine dies. Stewart is distressed to the point of madness. Months later, he meets a woman who looks much like Madeleine. After much uncomfortable prod- ding, he is able to begin a relationship with this

sure of every- thing. But from my observation, | believe the point of this film is to show that the male ideal of the perfect woman, an ideal pro- jected onto many works of art (includ- ing Hitchcock’s own films), is ultimately

where he developed vertigo, or fear of heights. Despite this set- back, he is forced

Fortunately, “Vertigo” has

endured to become one >

of cinema's great achievements.

destructive, both for the man with this fictitious belief, and the woman who is the object of this belief. The pleasures

of this movie are many. Bernard

back to work, as an old friend calls him up to ask if he can follow his wife, Madeleine (Novak). It seems an old family curse is about to lay claim to Madeleine, and it is up to Stewart to ensure her safety. But one fateful day, he saves her from a suicide. And as Madeleine and the detective’s lives are even more entangled, the two fall in love.

woman. And the story grows more disturbing, as Stewart forces this woman to look, and behave, like Madeleine. And there is so much more than this expla- nation, which I'll leave the viewer to discover. Hitchcock doesn’t simply attempt to surprise us with these revelations and developments. Rather, he wants to fully depict the nature of this relationship; the fact that Stewart is indeed a very obsessed man, and also why both women are willing to stay with this man. The is extraordinarily complex; even after three viewings over the years, I’m still not

Herrman’s score creates both a

romantic and creepy feel- ing. The color is wonder- fully bright and expres- sive, con- cealing the darkness underneath. And the two major perform- ances are interesting; both have to be subtle, for neither is who we think they

are. Stewart is especially good; can you imagine good old American

boy George Bailey from “It’s a Wonderful Life” playing a man obsessed

with a dead woman, and on the verge of necrophilia?

Well, you don’t have to imagine it, for it is all here. And it is all part of one of the most complex, and intriging films ever created.