People say beauty is in the inside. In Vertigo, it's everywhere

Rating: 10/10 (8 November 2018)

Apparently there's a reason why, in a medium where everything is extremely subjective, this film is always on the top for so many people. If I'm allowed to say, it is truly objectively a masterpiece. Usually when I watch a movie there is always that one scene that sticks with me afterwards. A few minutes in, the scene at Ernie's kicks in and I think to myself: This is it. But then there's the whole pursuit scene, the museum, the nightmare sequence, the final transformation of Judy in Madeleine, and so on, and so on. Everything is so beautifully engineered to elevate the tantalization of Madeleine that one can't help to participate in Scottie's obsession. James Stewart is stellar, as usual, but Kim Novak can just merge an uneasy eerie feel with that strong magnetism, while still keeping it convincingly real. And of course it had to come to that end. After all, life goes in cycles, right? All of this the fruit of an extremely well designed plot by the one and only Master of Suspense. Let him take the credit he deserves, but don't forget that the man surrounded himself with the right people. The cinematography by Robert Burks is, to this day, the closest I have seen to the meaning of "every frame a painting". I mean, I had never realized I wanted so badly to visit San Francisco (which almost feels like character in itself). And don't get me started one the score. Many say that, since Herrmann couldn't conduct the orchestra in this movie, it doesn't have the same feel. But honestly, it doesn't really matter to me. It is so well embedded into the plot, the characters, the scenery, that, just like the city of San Francisco, feels like a conscious character. Most of the times, this may go unnoticed to a great deal of people, but I dare anyone to try to watch this movie with no soundtrack and I assure you it won't be nearly as striking.
"Only one is a wanderer; two together are always going somewhere"