This is further reinforced by their trip to the Sequoia Redwood forest. Scottie is fascinated by Madeleine, who says she is the reincarnation of a woman from the old Californio days of California, a theme reinforced by the visuals from two old missions. Immemorial time is likely what Marker meant and can be inferred by the symbolism and myths in Vertigo. It seems to be a question of trailing of enigma, of murder, but in truth it’s a question of melancholy and dazzlement…so confidently coded within the spiral that you could miss it, and not discover immediately that this vertigo of space in reality stands for the vertigo of time.”
![vertigo film vertigo film](https://image.tmdb.org/t/p/original/2puipQCo5GBVf3PFF8fvirZK32z.jpg)
He said about Vertigo in his film Sans Soleil, in part, “…. And finally on their third stop at the Art Gallery his attraction to her beauty is magnified by her unexplainable aura of mystery.Ĭhris Marker was a big fan of Vertigo, having watched it nineteen times. Then as he follows her to the Mission and through its cemetery, his curiosity is heightened beyond where his reason finds answers.
Vertigo film full#
Scottie’s walk through the very dark tunnel-like back of the Podesta Baldocchi flower shop, then as he opens its rear door, magnificent full colors of flowers fill the screen, with a radiant Kim Novak as Madeleine turns and appears to walk toward him. A mere private detective job of tailing a man’s wife changes completely. We as the audience perceive, without dialogue, Scottie’s obsessive love begin. As a main character, the beautiful Madeleine is also obsessed with death. Hence the identical twirl to their hair-buns, and the same flower “nosegay’ they hold. Madeleine’s husband had told Scottie that she thought she was Carlotta’s reincarnation. Just enough dialogue elicited information on the painting from a museum guard. Scottie voyeuristically watches her gazing at the portrait of Carlotta Valdez, whose gravestone she had just visited. In his interviews with Francois Truffaut he stated, “The silent pictures were the purest form of cinema.” Vertigo was filmed with long stretches of silence, but scored by the brilliant Bernard Herrmann: scenes of the introductory chase, Scottie’s tailing of Madeleine with drives through San Francisco streets, through a flower shop, at the cemetery of the Mission Dolores, and at the Art Gallery at the Palace of the Legion of Honor. Hitchcock had started as a silent filmmaker and believed that in many ways it was superior form of film making. Rather than communicate them in scripted dialogue, these elements were communicated symbolically and visually. It was not only fear Hitchcock was trying to excise in Vertigo, but his own obsessions and subconscious feelings. “The only way to get rid of my fears is to make a film about them,” he once said. He was in the hospital for a month for the latter, where he contemplated his own death. During preparation of the last version involving Hitchcock and Samuel Taylor, Hitchcock was hospitalized twice in two months for a naval hernia and then serious gallstone surgery. In writing the script for Vertigo, many screenwriters were involved, and versions changed. In the case of Hitchcock, his film was based on the book D’Entre les Morts (Between Deaths) by Pierre Boileau and Thomas Narcejac, where the same obsessive search for a dead love then creates the makeover of the same/different woman. This myth has inspired countless works of literature and art.
![vertigo film vertigo film](http://2.bp.blogspot.com/-YkNcVW4H5Ms/UWmBM5MyJnI/AAAAAAAABoU/eVBz6RXeNgA/s1600/vertigo2.jpg)
On their journey out, Orpheus thought he was fooled, he looked back at Eurydice before they reached the light, and Eurydice was pulled back among the dead. His love was so strong that the god Hades let her go, on condition that Orpheus be patient and not look at her until they exit.
![vertigo film vertigo film](https://i.pinimg.com/originals/c5/a8/26/c5a826dbd58161f9c76b0ed51b52b6fd.jpg)
Indeed, the very premise is rooted in the Greek myth of Orpheus and Eurydice, where Orpheus travels to the underworld to retrieve his dead wife.
![vertigo film vertigo film](https://www.cinematheque.fr/cache/media/articles/vertigo9/cr,700,525-18ee47.jpg)
Yet this film, obsessed with the hopeless task of bringing a lost love back from the dead, leads to such interpretation. Alfred Hitchcock never admitted that he used any symbolism in his masterpiece, Vertigo, let alone incorporating any mythic elements.