Review of Vertigo (1958) by Ashley K — 07 Mar 2012

"Scottie, do you believe that someone out of the past - someone dead - can enter and take possession of a living being?" - Gavin Elster (Tom Helmore) in Vertigo.

Alfred Hitchcock has a good handful of film that are considered to be stone cold classics. Whether it's North by Northwest, Rear Window, Psycho or even his earlier films like The 39 Steps and Lifeboat, many a critic and fan consider his filmography the best of all-time. The American Film Institute honored Hitchcock's 1958 triumph Vertigo as the 9th greatest film of all-time in 2007. It was also honored by the AFI as the #1 Mystery film, and 18th greatest display of both thrill and passion. But for the modern viewer, is Vertigo really a true Hitchcock classic?

The film kicks off with an enthralling rooftop chase with a criminal, police officer and John 'Scottie' Ferguson (Jimmy Stewart). In mid-chase, Ferguson botches a roof-to-roof jump. Fast forward to later and Ferguson is a scarred and retired detective moping around San Francisco with his guilt and newly attained acrophobia due to the stress of the rooftop event. One day he contacted by former college buddy Gavin Elster (Tom Helmore). After catching up, Elster tells Ferguson of the recently strange behavior of his wife Madeline (Kim Novak). Elster believes that it's not simply a disease or growing apart from her but instead is convinced of paranormal possession. Reluctantly, but intrigued, Ferguson agrees to follow Madeline around at Elster's request, to observe her odd behavior.

Hitchcock always is precise, manipulative and innovative in his film technique and always effectively "directs the audience" with his thrillers, but with Vertigo he turns in a visually arresting work of art as well as a passionate romance and compelling yarn of mystery. Filmed around San Francisco, Hitchcock makes use of all of the city's most recognizable landmarks like the Golden Gate Bridge and Muir Woods and takes in all of their beauty in very rich colors. From one of cinema's most memorably trippy opening credits to the last frame of the film, Hitchcock fills every scene up with some stunning images. One particularily poignant sequence is a scene filmed in a beautiful flower garden while Ferguson follows Madeline through.

The story, based off of a 1954 novel, is perfectly directed by Hitchcock, wisely written, and beautifully performed by its small but always integral cast of characters. A screenplay, especially for that of a thriller, is always great if the viewer wants to watch it again as soon as the end credits roll. Vertigo accomplishes this nearly impossible task effortlessly. Stewart, always the everyman, is believable in a role that would be a struggle for any actor, a guilt ridden detective with an intense fear of heights and an increasing obsession is potentially difficult to believe as a character but Stewart's chops make it impossible for any viewer to doubt his sincerity. Kim Novak is gorgeous and turns in an equally admirable performance as the mysteriously behaving wife.

Hitchcock is one of the rare directors that has appreciation of both critics and audiences alike and is a legend for still being able to keep that grasp on decades after the opening of his films and even his own death. Vertigo is another indisputably timeless Hitchcock classic with pleasing aesthetics, defining style, a palpable story and an ultimately unforgettable, and rightfully Hitchcockian, conclusion. Just like a classic, Vertigo is a simply a movie that stays in the audiences minds and hearts.

Grade: A+.

Reviewed by Ben Pieper on March 8th 2012.