In my eyes, Hitchcock's ultimate masterpiece !!!

Rating: 10/10 (14 April 2016)

First of all, while reviewing this film I have to say that 'Vertigo' requires multiple viewings. When I watched it for the first time, I liked it, but it didn't blow me away. But on subsequent viewings, not only has it amazed me with the implicit richness, it is now my favourite Hitchcock film, which is saying a lot as I adore films like 'Rear Window', 'Psycho', 'The Birds',etc.
The screenplay written by Samuel A. Taylor, Alec Coppel and Maxwell Anderson in close collaboration with Hitchcock is based on the French crime novel 'The Living and the Dead' is brilliant and takes the film to the brink of greatness, but what pushes it over the edge and takes it into the masterpiece territory is Hitchcock's direction.
Hitchcock's approach to filmmaking had a lot to do with what he called 'Pure Cinema' which involved using masterful technique and direction to put the viewer in the shoes of the protagonist and put them in the moment and make them feel the tension and the suspense. The explicit generally was more prominent than the implicit themes and subtexts. But Vertigo is different because there are endless things happening underneath and it is unbelievably layered and nuanced and deep because of Hitchcock's direction if the viewer is looking for the themes and from experience I think multiple viewings is required for that.
A connection between 'Vertigo' and 'Rear Window' can be based in Hitchcock's fascination with the human tendency of voyeurism. The first part of the film involves Scottie following Madeleine obsessively which is very similar to Jeff's obsession with the goings-on in the apartment in front of his window in 'Rear Window'. A connection between 'Vertigo' and 'Psycho' can be drawn but it's far more tangential and less direct. The second half of 'Vertigo' becomes a full blown character study which has extremely disturbing subtexts which is also the case in 'Psycho' as it also has very disturbing subtexts, however 'Vertigo' in my eyes has more depth and layers.
Possible interpretations of the film:
Firstly it can be seen as a damning indictment of some men's obsession with their idea of female beauty and fantasies and their tendency to force their fantasies on their partners.
Secondly it can be seen as an indirect indictment of the obsession of Hollywood studios with casting beautiful women. In a snide way Hitchcock might be taking the mickey out of his own self as he himself was well known for casting a lot of attractive blonde women in the majority of his films.
Thirdly this can be seen as a film which makes references to the Greek myth of 'Orpheus and Eurydice'. Scottie clearly falls madly in love with Madeleine which gradually becomes an obsession. This obsession gets the better of him. When he meets Judy, his obsession with Madeleine overwhelms his thoughts and his unending attempts to relive the sensation of being with Madeleine through Julie ultimately makes him lose 'Madeleine' again which is very similar to the story of Orpheus. Hitchcock himself has talked about the disturbing elements of necrophilia that 'Vertigo' contains.
This film also is a statement on the power of fiction be it in any form like books, cinema, etc. There is a particular scene towards the beginning of the film where Gavin Elster has the conversation with Scottie which makes Scottie interested in pursuing the case. The blocking in the scene is interesting. There is a particular moment where Elster is standing on what looks like an elevated stage while clearly lying and Scottie is watching him while sitting on a chair just like an audience member.
'Vertigo' can also be seen as a work on masculinity and male insecurity. I have heard reviews where the bell tower has been described as a phallic symbol. When Scottie fails to 'save' Madeleine due to his vertigo, he succumbs to feelings of despair and uselessness. He views his inability to save her due to his vertigo as a blot on his manhood. But when he figures out that he has been tricked, his rage come to the surface. He forcibly takes Judy back to the bell tower in an attempt to overcome his fear of heights and in a thematic sense 'regain' his manhood.
All the themes of the script work because Hitchcock through his masterful direction allows them to work. The way Hitchcock uses colour motifs in the film is breathtaking. He uses the colour red to signify Scottie's obsession. He uses green to signify something ghostly or ethereal which is why Madeleine/Judy is seen wearing green dresses. There are two beautiful profile shots of Kim Novak once as Madeleine and the other as Judy. They beautifully juxtapose each other. The first one shows Madeleine's profile shot with the blazing red colour all around it to signify the arousal of Scottie's obsession. The second one is in Judy's apartment where we see Judy's side face which is engulfed in darkness with the neon green light all around her face showing how Judy is invisible to Scottie. All he sees is the green light which reminds him of the ghostly Madeleine. The uninterrupted 360 degree kissing shot where Scottie in his mind actually recreates the past climaxing in the still of Scottie and Judy kissing in front of the green light resulting in a rebirth of the spirit of Madeleine in Scottie's head is one of the greatest shots in film history and an example of Hitchcock's masterful vision.
James Stewart plays an uncharacteristic role as Scottie. Scottie is nowhere near the lovable and kind character that he was generally known for playing. Kim Novak is absolutely brilliant playing the two roles of Madeleine and Judy. She brings in subtlety and perfectly manages to make both the characters distinct.
'Vertigo's thematic depth, rich use of colour and Hitchcock's masterful storytelling make it a masterpiece.