Review of Vertigo (1958) by Robert H — 09 Aug 2015

I like to be in a good frame of mind when starting a film, because if distracted, it will affect the way I process it. So, after a few false starts, I finally have seen VERTIGO, and what I feel to be the perfect example of a Hitchcock film.

The story follows John "Scottie" Ferguson, a retired San Francisco detective who is called by a friend to follow his wife. Along the way, he falls in love and has some curious experiences revolving around mistaken identity and his fear of heights.

Dare I say that James Stewart hasn't been better (at least in a Hitchcock film) than here. Kim Novak also acquits herself rather nicely in the typical Hitchcock blonde role, although I still think Grace Kelly is a slightly better actress.

All of Hitchcock's tricks are put to full use here, and things start off brilliantly with my favorite title sequence so far. Saul Bass and Bernard Herrmann were two of Hitch's greatest collaborators, and they certainly did some of their best work here.

From a story perspective, the narrative takes a number of twists and turns which a discerning viewer will probably figure out beforehand, but its the execution of said twists that really make them work.

They aren't telegraphed, but rather are hinted at or suggested. And if there's anything that makes a Hitchcock film extremely watchable, is how he is able to manipulate audience expectations through the power of suggestion.

From a technical perspective, there was quite a bit of impressive camera-work and photographic effects that add to a sense of disorientation and suspense. In particular, there are a few zoom in/track out shots that visually illustrate James Stewart's character's acrophobia.

There was also a really trippy dream sequence that served as a nice reprise of the opening title sequence. Even the production design, sets, costumes, etc. added to the visual splendor. Even when the narrative slows down (to ease the tension), there's always something beautiful to look at, be it a person or one of the many on-location shots of downtown San Francisco.

And finally, Bernard Herrmann's score was pretty much perfect, helping to build tension at the right moments and backing off when necessary. A couple key moments in the film happen sans score, and the mark of a good composer is knowing which moments to back off and let the drama speak for itself.

Put together, all of the various production elements form a package which, to me, is the epitome of what Hitchcock brought to cinema. You have interesting (and attractive) characters, a suspense-filled story, brilliant camera-work and a rapturous score.

Even the ending this time felt better than in his other films. Although it would probably benefit someone new to Hitchcock to start with something earlier in his filmography (to get a sense of progression), VERTIGO is probably the pinnacle of his style and certainly essential when it comes to film classics.