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There’s nothing happy about this movie.Īfter the opening credits, the opening scene is an absolute classic, as several men run across the rooftops of San Francisco at dusk, a scene imitated by Dark City and the Matrix.
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The credits should also serve as a warning: If you watch this movie believing you’ll end two hours later with a smile on your face and in your heart, you will be sorely mistaken. Designed by famed animator Saul Bass, they consist of swirling designs, taking ours eyes and minds into the depths of psychological despair and horror-into a personal and existential abyss.
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Even the opening credits-disturbingly Freudian and Jungian-disorient the viewer.
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It is a full work of art, and as such it demands everything of us. This is simply not the kind of movie that can serve as background wallpaper. No matter how many times one watches Vertigo, it demands full attention and immersion. Since its re-release in the early 1980s, critics have generally considered it one of the two greatest movies ever made, vying for first place with Citizen Kane. And strangely, Vertigo disappeared, becoming one of Hitchcock’s so-called “lost movies.” In 1983, it finally appeared again in movie theaters, and a year later on home video. Hitchcock, deeply embarrassed by its box-office failures, blamed the aging Jimmy Stewart as no longer appealing to the public.
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Though critics loved Vertigo when it first appeared in 1958-the New York Times especially lauding it as a masterful work of cinematic art-the public, by and large, ignored it. If Rope is philosophical, Vertigo is equally psychological. Symbols abound in the movie-symbols of American antiquity, of American nobility, of American industrialism, of American Hispanicism, and of American Catholicism. And unlike the confined space of the upper-class Manhattan apartment in Rope, Vertigo centers on a very middle-class detective in San Francisco. The movie relies on setting and mood more than dialogue. In contrast to the stripped-down minimalism of Rope, which also stars Jimmy Stewart, Vertigo is in every way lush and voluptuous. Alfred Hitchcock’s “Vertigo” explores pretended and real madness, its plot twisting and turning in ways perhaps only logical to the perplexing soul of its director.Īs with all his best movies, Alfred Hitchcock’s Vertigo (1958) brutally analyzes modernity, finding it schizophrenic and wanting.