Vertigo (1958)

Hitchcock's 'Vertigo' is a masterful work, following the story of Scottie, played by James Stewart, as he uncovers the mystery behind the mysterious Madeleine (Kim Novak) and her split personalities. His journey which he undertakes while battling Vertigo takes him to the scenic vistas of the Golden Gate Bridge and beyond, and has cemented Hitchcock as one of the greatest directors of all time.

The most commonly referenced thing about Vertigo is the beautiful soundtrack by Bernard Herrman and the stunning cinematography. This certainly cannot be understated; from the wide scenic shots depicting the vibrant red of the Golden Gate Bridge against the stark blue sky to seeing Scottie tumble into the never-ending abyss in a dream sequence, this film is visually magnificent. The vivid use of colour feels to emphasise the emotions of the characters in various scenes like the "Scene D'Amour" but it never feels overwrought or exaggerated.

The strong emotion is a key strength of this film; unlike other works like Rebecca the romance plot really works because these are characters we like and can empathise with as they uncover the mystery behind the film. Despite the fact that the plot is very limited in scale - it mostly consists of Scottie visiting various sights during his investigation and then re-visiting them later - the film never felt slow or over-long. There was a clear sense of purpose behind every scene and action and it felt like it was contributing to a larger narrative. For Hitchcock, the larger narrative and themes of the film are a strength: Scottie's obsessive love of an idealised woman and the harm that that does to his real relationships. Scottie isn't in love with the real Madeleine but rather the idea of Madeleine - the beautiful, mysterious damsel in distress who relies entirely on Scottie. A clear contrast is created in the character of Midge, who is relaxed, easy-going and independent. Despite these qualities, Scottie is attracted to Madeleine because it's through saving her that he feels validation; with Midge she's capable of saving herself and this leaves Scottie disinterested.

However, despite the great over-arching narrative, some of the plot details are very convoluted and in some cases ridiculous. Hitchcock has stated repeatedly that the minutiae of the plot is not what he's interested in, but the emotions. The problem is that a sometimes incomprehensible plot can ruin the viewer's immersion and therefore dampen the emotions. Nowhere is this more clear than in the ending, when the beautifully explored theme of losing reality in pursuit of an ideal is undermined by silly and nonsensical plot devices. It could be said that Hitchcock became 'dizzy with success' with all of the excellent elements of this film and ignored some of the fundamentals like the plot details and some basic standards of realism.

Overall, the captivating combination of wonderful performances, soundtrack, cinematography and an exploration of obsession create a very good film, and it largely lives up to its hype. The requirement however to fully enjoy the emotions Hitchcock is so committed to is to ignore some of the plot details and suspend disbelief - and if you're able to do that then 'Vertigo' truly shines through.