
Following his early retirement as a detective from the San Francisco Police Department, John Ferguson - Scottie to his friends - becomes obsessed with two women in succession, those obsessions which trouble his long time friend and former fiancée, Midge Wood, a designer of women's undergarments. The first is wealthy and elegant platinum blonde Madeleine Elster, the wife of his college acquaintance Gavin Elster, who hires John to follow her in Gavin's belief that she may be a... (Full plot summary below)
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Following his early retirement as a detective from the San Francisco Police Department, John Ferguson - Scottie to his friends - becomes obsessed with two women in succession, those obsessions which trouble his long time friend and former fiancée, Midge Wood, a designer of women's undergarments. The first is wealthy and elegant platinum blonde Madeleine Elster, the wife of his college acquaintance Gavin Elster, who hires John to follow her in Gavin's belief that she may be a danger to herself in thinking that she has recently been possessed by the spirit of Carlotta Valdes, Madeleine's great-grandmother who she knows nothing about, but who Gavin knows committed suicide in being mentally unbalanced when she was twenty-six, Madeleine's current age. The second is Judy Barton, who John spots on the street one day. Judy is a working class girl, but what makes John obsessed with her is that, despite her working class style and her brunette hair, she is the spitting image of Madeleine, into who he tries to transform Judy. The initial question that John has is if there is some connection between Madeleine and Judy. What happens between John and individually with Madeleine and Judy is affected by the reason John took that early retirement: a recent workplace incident that showed that he is acrophobic which leads to a severe case of vertigo whenever he looks down from tall heights.
Leave your thoughts about Vertigo.
| Houston ChronicleJeff MillarThere is a glumness to the film that is notably missing from the director's other films of the period. |
| The New York TimesJanet MaslinBrilliantly schematic, endlessly fascinating...this prescient 1958 spellbinder can now be admired as the deepest, darkest masterpiece of Hitchcock's career. [Restored version] |
| GuardianPeter BradshawVertigo also combines in an almost unique balance Hitchcock’s brash flair for psychological shocks with his elegant genius for dapper stylishness. Like Psycho, it ends in an “o”, or maybe “oh!” The ancient house adjoining the Bates motel in Psycho certainly has an unearthly similarity to San Francisco’s creepy old McKitterick Hotel in Vertigo. [Rerelease] |
| Edinburgh U Film SocietyKeith H. BrownIt may not be as funny or light as the best known of Hitchcock's work but this is certainly a classic largely because of it's impressively unlikeable, intense characters so at odds with Hitch's trademark Hollywood glamour films of the same time. |
| Patrick NabarroPJ NabarroA film totally in thrall to the lure/peril of looking, and filmed almost entirely from the perspective or emotion of the subconscious. |
| Chicago ReaderDave KehrA thematic analysis can only scratch the surface of this extraordinarily dense and commanding film, perhaps the most intensely personal movie to emerge from the Hollywood cinema. |
| The GuardianRhik SamadderAll great art has within it some irreducible, inexplicable element, beyond its cleverness and craft. Such is the hold Vertigo has. This strange, frustrating story of a haunted pervert, Hitchcock's Byronic opus, still evades capture, and refuses to be something it's not. |
| The TelegraphTim RobeyProfound, penetrating and unfathomable rather than (quite) perfectly formed art. Vertigo pioneered that camera effect, known as the dolly zoom, whereby the viewer (the point of view is always Stewart’s) appears to fall into an infinite abyss while remaining quite still...The film itself is that abyss, and we’re still falling into it and for it. |
| Rolling StonePeter TraversThis dizzyingly intricate film reveals new facets each time you see it. We leave Vertigo unsettled, like Scottie, who ends up on the edge of a precipice. Hitchcock is daring us to leap. He has prepared the ultimate fix for a cinema junkie: a movie to get lost in. |
| Slant MagazineBill WeberAlfred Hitchcock’s rich and strange masterwork. |