Just Might be Hitchcock's Best

Rating: 10/10 (13 July 2016)

Vertigo might very well be Hitchcock's magnum opus. The film that tops a list of so many greats. His most personal and haunting piece. It stands out in his filmography because of that. It demands repeated viewings. It has to be questioned and reflected upon. It is Hitchcock's most thought-provoking and complex film in that regard, one that stays with you long after it is over. I'm delighted that after being dismissed when it was first released that the film is now rightfully considered one of the greatest of its kind.
It revolves around Scottie, a former detective crippled by acrophobia, lured out of early retirement to help an old friend named Gavin Elster. Elster asks Scottie to follow his wife Madeleine, whose strange behaviour he believes is the result of being possessed. To say much more about the plot line would ruin some amazing twists that have to be discovered with fresh eyes. It truly one of the most well thought- out and detailed narratives of all time. One that cannot be second guessed and leads to situations that are impossible to see coming. This is where the repeated viewings come in too. Seeing the film for a second time opens up entirely new perspectives. Something that might not have appeared fully realised before now makes perfect sense. It gives the film immense replay value.
The film moves slowly in exactly the right way, building everything up with delicacy and secrecy instead of rushing to the payoff. It relies on atmosphere more than any other Hitchcock film. The almost dreamlike quality conveyed by the camera-work. Our sense of uncertainly increasing along with Scottie's, as he begins to feel some kind of connection to the woman he's following. The initial payoff is put together so well that everything falls into position perfectly. The first two thirds of the film unravel beautifully because of this and the mystery remains totally gripping. We are as intrigued by the mystery as our main character. We are kept in the dark during these scenes and discover information as he does (a technique Hitchcock used frequently).
Both James Stewart and Kim Novak deserve massive acclaim for their intricate and detailed performances. Stewart plays against his usual role as the charming everyman, making Scottie gentle but increasing edgy and cautious. A man troubled by his ailment and past failures. Stewart portrays the emotional turmoil beneath the character with such subtlety that we can't help but feel for him. Novak is his equal. Her uneasy acting style fitting such an uneasy character. She's an actress that can convey so much using just her eyes and that is always an impressive feat. Novak is hauntingly beautiful, a crucial detail given with have to believe that Scottie grows to obsess over her. Barbara Bel Geddes deserves credit too for bringing some needed levity as Scottie's friend Midge.
The third act is where the film really hits home for me and reaches its pinnacle. Without spoiling anything, the way in which everything comes full circle is done masterfully. It is also here where the film delivers on some really powerful themes such as loss, guilt and obsession. All of these are handled with grace and intelligence, joined to the struggles of our main characters. The emotional connection to the story and empathy we feel for the characters exceeds any expectation, making the films twists and turns all the more impactful. This is a very moving film, something that we very rarely associate with Hitchcock. Yet this is undoubtedly his darkest and most psychological film, deliberately devoid of the wit that usually runs through his work. It delves deep into the psyche of Scottie and all the twisted thoughts and feelings that come with it.
Another stand-out is the score. Bernard Herrmann's score is simply magnificent, easily one of the greatest of all time. It is both elegant and eerie, invoking both unease and uncertainty, tying itself to the film masterfully. It makes every scene seem grander or chilling depending on what it calls for. It does everything you could want it to and more. Adding to that is Hitchcock genius camera-work. Every camera movement feels as if it was done for a reason. It helps us feels the uncertainty with Stewart as he sneaks through San Francisco, putting the characters fears into a visual sense. It frequently swirls stunningly in time with the music. It lights the characters to represent their true feelings. The direction is some of the most accomplished you will see. Backing this up are the brilliant title sequence by Saul Bass and the truly unsettling dream sequence, both being great touches that add to the films allure.
Vertigo succeeds because it is a film that stays with you. Not just for its plot, acting, visuals and music, but for how it evolves each time you see it. All the pieces of the puzzle are being put into place and you won't be able to connect all of them the first time you see it. Once you do, you realise just how superbly constructed the film is. How this ghostly mystery is simply one piece that leads to something even more affecting. It is undoubtedly one of Hitchcock's best, whether or not it is first on that list simply depends on personal preference. It is a haunting, elegant, frequently surprising and almost dreamlike piece. Its power continues to grow over time.