A man is tempted by an insidious, curvaceous force that feigns the feminine form and he slowly finds himself wound up like a ball of yarn for the cats’ night out. That’s how Vertigo begins, but only in the most superficial sense how it dissolves. It stars James Stewart as Scottie Ferguson, a private eye hired by a friend to spy on the friend’s wife Madeline (Kim Novak), whom the man believes is possessed by a familial specter who has long overstayed her tenancy in the human body. Soon enough, Scottie finds himself in love, and perhaps so too does Madeline. Things truck along in ghostly romantic chiller fashion from this point on, but director Alfred Hitchcock couldn’t resist slopping some blood on the tracks.
In 1958, Hitch was on top of the world, but he was about to blow the roof out. Over the next three years, he would release perhaps his tripartite masterpiece, spinning wildly from the psychoanalytic modernism of Vertigo to the boisterous, brash thrills-a-minute of North by Northwest, and sticking the landing with the black-hearted chiller Psycho, which would forever redefine horror filmmaking. All apologies to his latter two efforts, Vertigo is his time-capsule piece, and arguably the most singular and unclassifiable American film of released post-Welles. The reason for the film’s success is simple: it is quite clearly Hitchcock having the most fun he ever did behind a camera, cackling some of his most dementedly grotesque chuckles in the process. It’s a maddening, cataclysmic, ungodly little curio that plays a downright mean trick on the audience, and goes home laughing all the way. Continue reading