Vertigo

Alfred Hitchcock's masterwork, Vertigo, is a captivating entanglement of mystery and psychological chaos. Ranked as the second greatest film in Sight and Sound's 2022 Critics poll, it is held in incredible regard, yet one not without merit. Vertigo boasts one of the most gripping plots in cinema, a story that continuously unfolds, drawing viewers deeper into its enigmatic world. The intentional plot holes and seemingly nonsensical logic heighten the film’s sense of mystery and surrealism. Its complex screenplay defies easy classification. Is the film merely a murder mystery, a psychological thriller, or a love story? To label it as just one would be a disservice. Vertigo is something far more profound, and as an exploration of identity, obsession, and the illusory nature of love, its brilliance cements its place as a timeless cinematic masterpiece. But the greatness of Vertigo extends far beyond its plot. It is the directing techniques Hitchcock employs that elevate the film from remarkable to an all-time masterpiece. The cinematography, in particular, stands as some of the finest in cinematic history. Rays of sunlight and auras of neon light are meticulously framed to give the characters an ethereal, almost otherworldly quality. The entire film is imbued with a dreamlike aesthetic, a world that feels simultaneously beautiful and unsettling, almost too surreal to be real. Who could forget the groundbreaking camera effects that lend Vertigo its hallucinatory quality? With the first-ever use of the dolly zoom (famously dubbed the Vertigo effect), Hitchcock creates the sensation of a never-ending labyrinth, a hypnotic dreamscape from which escape seems impossible. Complementing this is Bernard Herrmann’s unsettling score, which deepens the film’s hypnotic pull. The editing, too, plays a vital role in crafting this dreamlike atmosphere, with numerous dissolves and fades further enhancing the film’s mesmerizing effect. Although I’ve only seen two other Hitchcock films thus far -- The Birds and Rear Window -- I’ve read that a defining theme in many of Hitchcock’s works is his exploration of the male gaze and the inherent weaknesses in men, particularly those who might otherwise be considered strong or capable by societal standards. James Stewart’s John Ferguson perfectly embodies this archetype that Hitchcock seems to gravitate toward. A retired police detective, Ferguson has one apparent weakness: his fear of heights, exacerbated by a traumatic event that triggered his vertigo. Yet his flaws extend beyond this physical limitation. In many ways, he is selfish and detached, as seen in his cold and dismissive interactions with his ex-fiancée, Midge. His perception of love is equally strange and ambiguous. What does he truly love in a woman? What did he love in Madeleine? Was it her appearance, her class demeanor, her hair? It seems that this emotionally distant man, John, is not so much in love as he is consumed by obsession. His indifference to genuine connection allows him to fall victim to a fixation, blurring the line between desire and possession. This theme of obsession, the central motif of the film, is highlighted by the directorial techniques discussed earlier. The use of spirals, loops, repeated insert shots, and the repetition of scenes creates a visual and thematic spiral that mirrors John Ferguson's descent into obsession. These recurring elements emphasize the cyclical nature of his fixation, drawing the viewer into the same dizzying loop of desire and delusion. There are three obsessive characters in the film: Madeleine’s obsession with Carlotta, John’s obsession with Madeleine, and Judy’s obsession with John. Each of these obsessions becomes psychotic, with the characters fixating on an idealized version of reality rather than the truth. They are trapped by their distorted perceptions, unable to break free from their obsessions. Although Vertigo is sometimes criticized for a seemingly rushed ending that doesn't provide much closure or resolution, I believe the ending perfectly encapsulates the theme of obsession. Even if one is able to break free from their fixation and confront reality, the harsh truth of that reality can hit with an immediate devastating force, underscoring the inescapable nature of obsession. 96 Story & Pacing: 20/20 Characters & Acting: 19/20 Themes: 46/50 Cinematography & Editing: 5/5 Soundtrack & Sound: 5/5 Memorability: 1/1