A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
Former Police detective John "Scottie" Ferguson was asked by a friend to investigate his wife named Madeleine since he was afraid that she might attempt to kill herself due to probable insanity as she thinks that she might be possessed by a dead woman. Scottie agrees and ended up falling in love with her. Unfortunately for him, Madeleine died and he was left alone until a woman named Judy came along and things start to unfold.
The postproduction period in early 1958 was consumed with retakes, editing, and the creation of special effects shots involving models and matte paintings, particularly of the all-important bell tower. See more »
In the scenes that follow Judy putting on the gray dress, the headboard light on her bed disappears and reappears. See more »
(Forever Female), from Skylark (1941) (Poochie)
Composed by Victor Young
Orchestrated by Gus Levene
Played as 'cue 12D' by the orchestra while Scottie and Judy are dancing See more »
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.
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