Verti(way to)go

They say it is better to have loved and lost, than to have never loved at all. For John "Scottie" Ferguson, played by an adept James Stuart in Alfred Hitchcock's 1958 Vertigo, it is considerably better to manipulate than to live and let die. Clichés aside, it is evident that the movie is more than Hitchcock's famous twists and turns; it is a representation of desire, and in some ways, unrequited love.

The story is set in early 1950's San Francisco. John Ferguson (Stuart) is an acrophobic (fear of heights), recently-retired detective hired by an old friend to follow the friend's wife, who is apparently suffering from a sort of possession. The reluctant Ferguson eventually gives in and follows Madeline, played by the regal Kim Novak, only to become infatuated with her. As his love grows, so does hers for him, as well as her bizarre situation and their otherwise sympathetic relationship ends in suicide. Scottie is struck with despair and melancholy, which is demonstrated through a mental subjectivity montage, and probably some of the most memorable scenes in the movie. Hitchcock uses flashing green and red lights and a dizzying backdrop with the protagonist’s head floating in an optical illusion to depict the curse Madeline has placed on him. However, almost immediately after his lover’s death, he follows an uncannily similar woman named Judy and manipulates her every appearance in an attempt to recreate his lost love.

The last thirty minutes explain the paradoxical situation that justifies Hitchcock’s righteous place among great directors. Ferguson’s vertigo and fear of heights is met by a passion so great, it destroys all phobias, mentioned or implied (i.e. fear of heights, fear of uncontrolled aspects of life). As the second climax (which also happens to be the denouement) ends, the hope we have for Ferguson ends too.

Although the narrative is the most engaging component of the film, it would not be fair to not mention the excellent use of tonalities, as well as the notable use of sound. The color scheme is instantly recognizable as Hitchcock juxtaposes vivid colors with more drab sequences to draw attention to important scenes and landmarks, such as the Golden Gate Bridge or the wallpaper at Ernie’s, a restaurant several characters visit. Red and green seem to dominate revelations and flashbacks, which give an appropriately chaotic feel at necessary times.

The score, written by Bernard Herman (Citizen Kane, Psycho, Taxi Driver) is as important as the majority of the dialogue during the film. The music pulses and flows with the action, acting almost as another character. It creates and destroys atmosphere in a matter of a few notes, and establishes a large part of the suspense factor, which is an essential part of the film.

This movie could be scrutinized from Kim Novak’s costumes to every pan across Jimmy Stuart’s face, as Hitchcock was very deliberate in all aspects of the film. It is because of his premeditated vision that allows for such recognition of Vertigo in the film world.