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Storyline
An ex-police officer is asked to follow an old friends wife who thinks she is being followed by ghosts. A classic Hitchcock about a man who's afraid of heights and a woman he must unfortunately follow to great heights. |
Backdrops
The Director
 Alfred Hitchcock
Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980) was an Anglo-American director and producer. He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an American citizen while remaining a British subject.
Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognizable directorial style. He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism. He framed shots to maximize anxiety, fear, or empathy, and used innovative film editing. His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters. Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon.
Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else." The magazine MovieMaker has described him as the most influential filmmaker of all-time, and he is widely regarded as one of cinema's most significant artists.
Description above from the Wikipedia article Alfred Hitchcock, licensed under CC-BY-SA, full list of contributors on Wikipedia.
User Reviews
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Revisiting Vertigo for the AFI Project
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Spoiler Alert! Spoiler Alert! Spoiler Alert! Spoiler Alert! Spoiler Alert! Spoiler Alert!From August 23, 2009:
What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here:http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx
Vertigo is on the following AFI lists:
The Original Top 100 (#61)
100 Most Heart-Pounding Movies (#18)
100 Years...100 Passions (#18)
25 Film Scores (#12)
The Revised Top 100 (#9)
10 Top 10's (#1 Mystery)
I warn you gentle reader: this is going to be a highly unpopular review. Prior to this current incarnation of serious AFI viewing, I had seen Vertigo once before and had determined that this was my least favorite Alfred Hitchcock film to date. I walked into this revisit (instantly on Netflix) with as open a mind as I could muster – and have concluded that I feel the same way about this movie as I did the first time I watched it. This may be troubling to some, as Vertigo is widely considered Hitch’s masterpiece. In fact, the AFI’s re-rank of this film is one of the largest rank jumps on the Revised list (third only to City Lights and The Searchers). As a satisfying story, which is one of my primary biases toward any film I watch, I find Vertigo to be somewhat convenient and trite. Those who love the film make much of the mid-movie reveal that changes the film from an alluring mystery of possibly paranormal proportions to a disturbing psychological thriller of one man’s obsession with a woman that does not exist. The problem is, these reveals happen in such a jarring way, they feel rushed and unsatisfying. The mid-movie reveal, in particular, made me think both times, “Well, that’s convenient.” Hitch repeated this pattern in Psycho, and it wa...
View full review
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reviewed by Pippin2010 (Filmaster.com) on the 11th of March 2010
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Possibly Hitchcock's greatest achievement.