If I made Cinderella, the audience would immediately be looking for a body in the coach. The powers of audience manipulation of Spielberg. The controlled precision of Mann. The detached glee of the Coens.
In Hitchcock worked with legendary actor Jimmy Stewart for the fourth and final time, and just like Rear Windowthey succeeded in making a film that would enter the history books. Jimmy Stewart has perhaps never been this convincing, posing as yet another ordinary man driven by inescapable passion, a victim of his own desires, a pawn in a game we never agreed to play.
Kim Novak stars as the object of his obsession and longing, a mysterious blonde who seems ice-cold at the first glance, but a complex woman who magnificently display a wide range of emotionssuch as fear, love and child-like vulnerability.
Alec Coppel and Samuel Taylor are two writers responsible for this delightful screenplay, playful and innocent at times, dark and unusually deep the very next moment. Just the same, that book was especially written for you.
Do you really think so? Can you tell me what it was about this book that specially appealed to you? As you know, the story is divided into two parts.
In the screenplay we used a different approach. Everyone around me was against this change; they all felt that the revelation should be saved for the end of the picture. I put myself in the place of a child whose mother is telling him a story. What will he do when he finds out about it?
Do we want suspense or surprise? We followed the book up to a certain point. But now we give the public the truth about the hoax so that our suspense will hinge around the question of how Stewart is going to react when he discovers that Judy and Madeleine are actually the same person.
You will remember that Judy resisted the idea of being made to look like Madeleine. In the book she was simply reluctant to change her appearance, with no justification for her attitude.
So much for the plot. Those scenes in which James Stewart takes Judy to the dress shop to buy a suit just like the one Madeleine wore, and the way in which he makes her tryon shoes, are among the best.
What I liked best is when the girl came back after having had her hair dyed blond.
What Stewart is really waiting for is for the woman to emerge totally naked this time, and ready for love. At the beginning of the picture, when James Stewart follows Madeleine to the cemetery, we gave her a dreamlike, mysterious quality by shooting through a fog filter.
That gave us a green effect, like fog over the bright sunshine. Then, later on, when Stewart first meets Judy, I decided to make her live at the Empire Hotel in Post Street because it has a green neon sign flashing continually outside the window. So when the girl emerges from the bathroom, that green light gives her the same subtle, ghostlike quality.
Temporarily dazed by the vision of his beloved Madeleine come back from the dead, Stewart comes to his senses when he spots the locket.
I remember another scene, at the beginning, when Stewart hauled Kim Novak out of the water. He takes her to his place, where we find her asleep in his bed. The rest of that scene is superb, as Kim Novak walks around with her toes sticking out of his bathrobe and then settles down by the fire, with Stewart pacing back and forth behind her.
Vertigo unfolds at a deliberate pace, with a contemplative rhythm that contrasts sharply with your other pictures, which are mostly based on swift motion and sudden transitions. Did you notice the distortion when Stewart looks down the tower stairway? Do you know how we did that?
When Joan Fontaine fainted at the inquest in Rebecca, I wanted to show how she felt that everything was moving far away from her before she toppled over.
I always remember one night at the Chelsea Arts Ball at Albert Hall in London when I got terribly drunk and I had the sensation that everything was going far away from me. The viewpoint must be fixed, you see, while the perspective is changed as it stretches lengthwise.
I thought about the problem for fifteen years. By the time we got to Vertigo, we solved it by using the dolly and zoom simultaneously.
I asked how much it would cost, and they told me it would cost fifty thousand dollars. We can use a tracking shot and a zoom flat on the ground. As much as that? I feel that you really like Vertigo.
Do you know that I had Vera Miles in mind for Vertigo, and we had done the whole wardrobe and the final tests with her?Hitchcock: Shadow of a Genius aka Dial H for Hitchcock () is a fascinating look at the cinematic genius of Alfred Hitchcock.
Alfred Hitchcock was perhaps the most significant purveyor of pure cinema in his time, he was a filmmaker that infiltrated your senses and emotions more often on a visual level than a written one. Once More With Feeling – The Brilliance Of Vertigo Alfred Hitchcock’s magnum opus Vertigo appears to tell the same story twice.
However, there’s a very good and incredibly brilliant reason for this. Sir Alfred Hitchcock: Sir Alfred Hitchcock, English-born American motion-picture director whose suspenseful films and television programs won immense popularity and critical acclaim over a long and tremendously productive career.
His films are marked by a macabre sense of humor and a somewhat bleak view of the human condition. Back at his old Universal stomping ground, he’d probably knock off a Collateral or two, play himself on The Simpsons, exec produce episodes of Alfred Hitchcock Presents CSI Leytonstone (the place of his birth) and still find time for the odd curio designed to rub everyone up the wrong way –perhaps a shot for shot remake of Good Will Hunting.
Alfred Hitchcock is most famous for films like ‘Vertigo’, ‘Psycho’, ‘Rear Window’, ‘The Birds’, and ‘North by Northwest’, but with over 40 commercial successes and almost 60 films to his credit, there’s a lot more to his canon than people think.