Vertigo (1958) HOME 
Anyone could become obsessed with the past with a background like that  -  James Stewart as John “Scottie” Ferguson   y
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Doubles, seeing double, leading a double life, visual distortions are key themes.  At this moment in the film, just a bad joke.
Is this the same as the first photo or a close copy, or deja vu?
Hitchcock got very thematic with Vertigo, making concepts, motifs, and the subconscious more important than the literal plot.  He’s in pre-Kubrick territory here.

  Uniquely structured plus 3 mysteries for the price of 1.  The central mystery halts twice and shifts twice.  The 3 mysteries ask: ghost or possession; Madeleine or Judy;  permanent or temporary mental disorders?


  The final shift occurs near the end, but is present throughout.  When the other mysteries vanish, what’s left is whether or not Scottie’s vertigo, obsessions and detachments can be cured.  But should we care?


  Scottie’s hardly the ideal boyfriend in how he treats women, and in his relationship-wake he’s not leaving many happy endings behind.  Perhaps that’s why Hitchcock ends the film with no clear statement of hope and perhaps that why Scottie is left dangling on the rooftop gutter at the start - he may be incapable of being rescued.

        » Brent Chastain,   

Review Comments When First Released:

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John McCarten, The New Yorker

Jack Moffitt, The Hollywood Reporter

Phillip K. Scheuer, Los Angeles Times

Review Comments Contemporary:

Jamie Rich,

Dennis Schwartz Ozu’s World Moview Reviews

Joe Barlow,
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