Vertigo: Aus dem Reich der Toten

An interesting psychological piece that richly displays Hitchcock's talents. It is unfair to compare this film to the suspense thrillers of today which are subjected to more realism in sex and violence. Hitchcock had to be more subtle in 1958, where I'm sure a work like this, that seems tame by today's standards, appeared bizarre and risqué. Also the acting here seems histrionic; not that people actually spoke like that in the 50s but the audiences liked such dictionally refined dialogue back then as opposed to the lines of modern-day scripts that more accurately portray the way individuals speak.

James Stewart and Kim Novak are appealing on numerous levels, the former mainly because he doesn't wander far from the amiable joe we have come to expect (even though he does weird-out near the conclusion) and the latter because she maintains a veneer of vulnerability that we can relate to.

This is not a film I especially like (I couldn't watch it again and again) but I respect for its strong filmmaking.

One of the many things that made Hitchcock such a great director is that he did not just stick to the same formula time after time; all of his best movies have their own unique feel and characteristics. "Vertigo" is particularly distinctive, both as a complex story filled with suspense, and as a fascinating study in psychological tension. While it lacks the humor of some of Hitchcock's other masterpieces, and sometimes moves rather slowly, it is unforgettable, and a great achievement by the director and his cast.

If you have never seen it, you will enjoy it more if you do not know too much about the plot, although the actual story is somewhat secondary to the ways that the characters are tested and their weaknesses exposed by the various events. Hitchcock uses a complicated story, interesting characters, lavish visual detail, and deliberate pacing, plus a fine musical score by the incomparable Bernard Hermann, to produce a mysterious, almost unearthly, atmosphere. The tension rarely lets up, and the viewer is caught up completely in it, at times almost to the point of discomfort. It's the kind of film that repays careful attention, as almost every moment is filled with significant detail.

There are also some great acting performances. Jimmy Stewart is outstanding in a role far different from his usual screen persona. He enables the viewer to sympathize completely with him, even as we cringe at many of his character's actions and decisions. Kim Novak is completely convincing in a difficult dual role, and the movie would not have been as compelling without her fine performance. The rest of the cast all have much smaller roles, but are all quite good too, especially Barbara Bel Geddes as Scottie's (Stewart's) old friend, who provides important insight into Scottie's character.

"Vertigo" is a classic by any standard. It's a must-see that remains just as impressive with each viewing.

Starting in 1958, Alfred Hitchcock directed a remarkable sequence of films in a row, each of them a classic; Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). Never has a director made four such genuinely great movies in such a short space of time, either before or since.

The pick of this high standard bunch is undoubtedly Vertigo. From the opening titles, with their circling spiral imagery, to the dramatic final scene this is a movie that takes you to a different time and place. Specifically, to a San Francisco of the past; full of deserted parks, discrete rooming houses, oddly menacing art galleries and florists where the customers enter and exit through the back door. Through this landscape wanders Jimmy Stewart, towering in the lead roll as a former detective recently retired after a bungled arrest leaves him with chronic vertigo. Plot machinations lead him to the alluring Kim Novak (one of Hitchcock's famous "blondes"), the young wife of a friend who has started behaving rather oddly.

"To reveal more," as Leonard Maltin wrote, "would be unthinkable."

While the performances of Novak and Stewart are memorable, the movie is really set apart by the intelligent script and the stylistic touches provided by the director. Hitchcock is in his very best form creating hypnotic scenes and a general sense of unease and dread in even the most banal of situations. He is aided in this by the wonderful score of Bernard Herrman. A particular favourite of mine is the extended (largely silent) segment where Stewart follows Novak for the first time. Nothing much happens, but the atmosphere of these scenes is enough to keep you on the edge of your seat!

One of the all-time greats. They definitely don't make them like this anymore.

Alfred Hitchcock directed this mesmerizing film that stars Jimmy Stewart as John 'Scottie' Ferguson, a retired San Francisco policeman who is approached by old college friend Gavin Elster(played by Tom Helmore) who wants him to follow his wife Madeline(played by Kim Novak) who has been acting strangely. Scottie does follow her, and becomes obsessed by her beauty and behavior, eventually falling in love with her, with devastating consequences. Though that is only the start of the mystery... Barbara Bel Geddes costars as Scottie's friend Midge, still in love with him, despite jilting him years before. Superbly directed and acted film has an ingenious story and stunning imagery, making this an unforgettable romantic mystery, with a stunning ending...though if you have the DVD, watch the extra feature on the lost extended ending, which is fascinating, and changes the tone of the film as a result!

Scottie Ferguson is a police officer, retired because of fear of heights. His life changes when he accepts to watch a woman at the request of her husband, who suspects that his wife has been visited by a ghost. Directed by Alfred Hitchcock, has script Alec Coppel and Samuel A. Taylor, with the participation of James Stewart and Kim Novak.

This film is considered by experts one of the best films ever made. I never understood why but, nevertheless, is one of Hitchcock's films that I most like to see. The script is very good, mixing love, obsession, loyalty, madness and mystery in an irresistible recipe that takes the seal of quality of one of the most brilliant masters of suspense in cinema. The ending is baffling. Technically impeccable, this film has an excellent picture, sound effects and a soundtrack where the emphasis is given to the opening theme that, in all fairness, became one of the most famous of Bernard Herrmann. The performance of the actors also deserves congratulations. Stewart shows why Hitchcock was so fond of working with him and Novak can perfectly be, at the same time, the damsel in distress and the femme fatale, who leads men to act without thinking.

Essential for all Hitchcock fans, this film is a must-see for any lover of suspense and mystery. It's a film that can be seen by teenage audiences, despite having some more dramatic scenes, and probably will please the majority of audiences.