There are many who consider Vertigo to be one of the best films ever made while others are left wondering what the big deal is (Snider). It’s release in 1958 wasn’t particularly remarkable because it was released after many other successful Hitchcock films (Snider). It won only two Oscar nominations and was a bit of a disappointment to most critics and viewers largely because people thought it was too slow (Miller, and Cady). But the film’s real fame came much later when it was being re-evaluated and it became number 61 on the American Film Institute’s 1997 list of the best movies of all time (Snider). Upon revisions, the film was moved up to number 9 on the 2008 list (Snider). A film that didn’t fair well in comparison to many of Hitchcock’s other successes is now the most studied and discussed of Hitchcock’s entire career (Miller, and Cady). In fact, it was voted the second greatest film in the most recent Sight and Sound survey next to Citizen Kane (Miller, and Cady).
Although the film has reached a very high level of acclaim in modern times, many critics of the time were not as impressed. Specifically, there is a prevalent theme among critics that the film is too slow. Variety pointed out the film’s major fault, that the “film’s first half is too slow and too long,” but regardless of this “defect” it looks like a boxoffice winner (“Variety”). The Los Angeles Times explained that Hitchcock has tried his hand at a new dimension but has “taken too long to unfold it” (Miller, and Stafford). Bosley Crowther, of the New York Times, asserted that “there is a big hole---a big question mark---at a critical point” but he encourages the viewer to not get too caught up in it and still enjoy the film. Some critics were much more harsh, such as John McCarten of The New Yorker who said Hitchcock has “never before indulged in such farfetched nonsense” and the Los Angeles Citizen- News declared that this was not Hitchcock’s best picture. There were some critics who appreciated the film, such as Jack Moffit of The Hollywood Reporter, who stated that “Vertigo is one of the most fascinating love stories ever filmed” but such positive remarks were in the minority in 1958 (Miller, and Stafford).
Due to the rise in popularity and high regard for Vertigo, many are left speculating why the film seems to fair so much better with modern audiences. As with any film, there are no clear cut answers due to the variety of interpretations that exist in the viewers. Some people credit this film’s success to the notion that it is a very personal film for Hitchcock because it demonstrates his dedication throughout his career to “remaking blondes into his own vision of the perfect woman” (Miller, and Cady). Ebert further explains that Vertigo is the most confessional of Hitchcock’s films because it deals with “themes that controlled his art” (Ebert). Ebert asserts that the film is truly about how Hitchcock tried to control women and Scottie is really a representation of Hitchcock himself (Ebert). Looking at the film from Ebert’s perspective, as personal film for Hitchcock, it is more easily understood that this film is considered such a great work because it perhaps allows the viewer to peer inside the mind of an infamous filmmaker.
Other critics have focused on the darker elements of the film as the reason for it’s modern appeal. Kenneth Turan, of The A List: The National Society of Film Critics’ 100 Essential Films, asserts that the way the film resonates with modern audiences may be due to it’s themes of “sadism, masochism, fetishism, necrophilia, and more garden variety neuroses” (Miller, and Stafford). Danny Pear, of the Guide for the Film Fanatic, further explains that Hitchcock was attracted to the film project because Scottie essentially indulges in necrophilia by “resurrecting a dead woman and making love to her” (Miller, and Stafford). Seeing Scottie’s dedication to have Madeleine as the focus of the film has caused some critics to believe that Scottie is crazy, twisted, and a necrophiliac because he is “adamantly rejecting reality in favor of his morbid ideal” (Poznar 56-65)
Poznar, in his article Orpheus Descending: Love in Vertigo, argues that necrophilia and acrophobia are not the central themes of the film. Scottie’s determination to have Madeleine is the center of the film as Judy tries to remain Judy but she continually allows Scottie to remake her in the image of Madeleine. Poznar interprets Scottie in a much more positive light, rather than being obsessed and deranged, he simply sees the potential in Judy to become Madeleine and believes in her ability to fully realize her beautiful self, which is essentially Madeleine. Basically, Scottie is not simply crazy and pestering, rather, he is hopeful and helpful. Poznar goes on to compare Scottie to Orpheus going into the depths to Hades to revive Eurydice, but Poznar explains that Hitchcock has inverted the story because Judy chooses to not come back to life, she looks back which leads to her death. She chose death.
Another factor that has lead to the Vertigo’s development into an iconic film is the lack of accessibility to it for a period of time. Hitchcock owned Vertigo and due to disappointing initial reception, he removed it from distribution in 1973 (Snider). A decade later it was re-released and it attracted many viewers, partly because it was unavailable for some time and there is a tendency to want what we cannot have (Snider). Many critics had already began talking this film up since it had been removed from circulation which increased the anticipation of it’s rerelease.
Vertigo stands out from Hitchcock’s many other films because of it’s subtlety. David Ansen of Newseek asserted that other Hitchcock movies were more “on-the-surface fun” while Vertigo required time for the audience to “rise to its darkly rapturous level” (Ansen). Essentially, this film was deeper, less obvious, and took time for the viewers to full grasp it. As Snider said, “Vertigo is the type of movie whose quality increases after you consider its less obvious merits” (Snider). The power of the film is in it’s subtleties and intricate complexities that are mastered only by Hitchcock himself. Basically, Vertigo reveals Hitchcock’s artistry as a filmmaker and potentially the greatest reason for this film’s appeal is that it is the most reflective of Hitchcock’s style (Snider).
Evidently, Vertigo is a film that was not highly regarded in it’s time but has become an iconic film that is continually being interpreted and re-interpreted. Despite a slow start, dark themes have resonated with the viewers such as acrophobia and necrophilia or perhaps the confessional nature of the film as it reveals Hitchcock’s directorial control over women. Reviews are still somewhat mixed and there are no clear cut answers to clarify every intended meaning of the film. But upon careful consideration, many have found this film to be one of the greatest films of all time that is well worth watching many times over to continually interpret it’s complex themes and to better understand the artistic and highly visual film mastery of Hitchcock.
References
Ansen, David. “Hitchcock’s Greatest Reborn.” Newseek 21 October 1996: n. pag. Web. 29 May 2011.
Crowther, Bosley. “Vertigo,‘Hitchcock’s Latest; Melodrama Arrives at the Capitol.” New York Times 29 May 1958: n. pag. Web. 29 May 2011.
Ebert, Roger. “Vertigo (1958).” Rogerebert.com. Chicago Sun Times. Web. 29 May 2011.
Miller, John M., and Brian Cady. “Why Vertigo Is Essential.” TCM Turner Classic Movies. Time Warner, Web. 29 May 2011.
Miller, John, and Jeff Stafford. “The Critics Corner on Vertigo.” TCM Turner Classic Movies. Time Warner, n.d. Web. 29 May 2011. http://www.tcm.com/this- month/article/89392%7C0/The-Critics-Corner-6-18-12-2-.html.
Poznar, Walter. “Orhpeus Descending: Love in Vertigo.” Saint Leo College. 59-65. Print.
Snider, Eric. “What’s the Big Deal?: Vertigo (1958).” Film.com. 27 April 2010. Web. 29 May 2011. http://www.film.com/movies/whats-the-big-deal-vertigo- 1958#fbid=1MbMEeWrmLG
“Vertigo.” Variety 14 May 1958: n. pag. Web. 29 May 2011. http://www.variety.com /review/VE1117796098
The critical rise and fall of a particular film or director's reputation derive from many factors. Hitchcock went from being considered a mere manipulator of audiences to an artist interested in exploring the human psyche, and Vertigo from a confusing film to one that presented the complex nature of obsession.
ReplyDeleteFor our purposes, we might ask whether the contemporary interest and critical favor of Vertigo comes in part from our changed notions of what constitutes the masculine role.