Alfred Hitchcock’s film Vertigo (1958) was voted the “best film ever made” by the 2012 British Film Institute, and for good reason. The plot is elaborate and intriguing and the cinematography is legendary. On top of this, the characters, like good characters should, all have their own needs and wants that are evident in the film. The needs of these characters affect each other and they affect the story and they all follow one common theme: control. Our protagonist, John “Scottie” Ferguson’s wants and needs differ greatly throughout the film, but his only constant is his yearning to get over his acrophobia, or fear of heights. Ever since the beginning of the film when his fear is revealed, he is seen to be stepping on ladders, trying to gain some control over his fears. Later in the film, his need for control is so great that he aggressively …show more content…
Scottie wants so badly for her to be Madeline that he dresses Judy up as her and takes her to places where he and Madeline had been even though Judy herself is an absolute antithesis of everything Madeline was. Despite her discomfort with these actions, she eventually gives in. Although, Scottie’s obsession with Madeline scares her, Judy’s need to be loved by him allows her to submit herself to his mania and give him control over her. Her eventual death is caused her own submission to Scottie. In conclusion, though the characters of Vertigo all experience different wants and needs, they all have the theme of control in common. Scottie wants control over his crippling fear of heights and his vertigo, Elster wants control over his wife’s money, Midge wants control over Scottie’s heart, and Judy is willing to give up control in order to be loved by Scottie. As proven throughout the film, they will go to whatever means to achieve their desires, showing that in their need to gain control, they had eventually lost
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In class we watch two movies and read one play that show times where fear has crossed this boundary. There are many parallels between these examples; These include parallels of hysteria, fighting against a rigged system, and spectral evidence. In order to understand these parallels, you must first understand the what exactly happened in
Throughout life we discover what we desire the most from life, and we do our best to get to where we want to be despite the many difficulties we are forced to face. In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the protagonist, Janie Crawford, endures many hardships throughout her life. Janie faces the many struggles that come along with the role she must follow by being a woman. Also, Janie must go along with the rules set by those who are in control of her life. Nevertheless, Their Eyes Were Watching God is a story of woman who goes from “ … a naive girl to a mature woman” (Bernard, 2).
Superman I have always been petrified of heights. This dates all the way back to when I would peer off the edge of the enormous playset in my backyard as a kid. Looking over the breezy, towering side, hands clammy, and mouth dry, it would send shivers down my spine.
Former Detective Scottie is hired to follow a woman, Madeline. However, the Madeline Scottie follows is later revealed to be an actress made over to look like the real Madeline. The theme of duplicity is further emphasized within this narrative, by the suggestion that Madeline is possessed by her grandmother Carlotta and is mimicking the deceased woman’s behavior. After Scottie witnesses Madeline commit suicide, her begins to search for her out of grief. Scottie discovers a woman named Judy on the street with a similar profile to Madeline.
Moments before this shot Scottie has asked the newly blonde Judy to put her hair up into a bun. Reluctantly, she goes into the bathroom to do so and Scottie waits outside in the living room for her. The whole room is bathed in green light motivated by the fluorescent sign outside her apartment. This shot starts with a long shot of Judy, who has just exited the bathroom and is staring lovingly at Scottie, asking him for approval with her expression. A thick, green fog envelopes her, making Judy hard to see clearly.
This is ironic as Judy had many options of men in her youth but ends up in an unhappy marriage. He also informs him that she's lost some of her beauty. Dexter is very upset by this news and starts to cry. He thinks back on his life and to all the impulsive decisions he's made. He then wishes he was young once again.
When he learns about Judy’s recent life, he is suddenly struck with the realization that he cannot recall memories about her, although, up until this point he was certain that he had already forgotten about them. When he understands and accepts this, he is finally able to grieve for himself : “ For the first time in years the tears were streaming down his face. But they were for himself . . . . For he had gone away and he could never go back any more. The gates were closed, the sun was gone down, and there was no beauty but the gray beauty of steel that withstands all time.
Frightening motion pictures help the audience live different lives in the comfort of their own homes. In the story, Why We Crave Horror Movies, by Stephen King, the issue involves how thriller films appeases oneself. Whereas, the article, Horror Movies Take Escapism to the Next Level Meditation to Destress Allows the Mind a Break, by Amber Appleby, relates to why humans relish suspenseful movies. Thus, both the story and the article indicate similar yet different ideas regarding how horror movies affect us.
Director Alfred Hitchcock uses various forms of cinematic language throughout Vertigo to create more than just a movie, but a masterful work of film art. During the first scene, the protagonist, John “Scottie” Ferguson, is seen hanging from a gutter during an investigation of his as a detective. It is here that the viewer is inexplicitly presented one of the character’s major flaws. By looking down the alley with the camera, a visual effect is used to create a sort of tunnel vision from the point of view of Scottie. After seeing the panic in his eyes and sweat on his face, one might conclude that he has a fear of heights.
Beyond the shadow of a doubt, Alfred Hitchcock’s Rear Window is a better movie than its 2007 remake Disturbia. Though Rear Window was made in 1954 with limited special effects, it contains more suspense than Disturbia has. Also, Rear Window is slow paced; this makes you feel as if you are alongside Jefferies, solving the mystery of Mrs. Thorwald’s murder. Overall, Disturbia lacked Hitchcock’s top-notch directing and creativity. Rear Window uses slow-paced scenes to create suspense the audience loves.
Alfred Hitchcock's 1958 mystery film, "Vertigo," chronicles an acrophobic detective and his journey through a supernatural case, starring James Stewart and Kim Novak. The film touches on topics of love and fear as it shows John "Scottie" Ferguson attempt to conquer both themes in the form of young Madeline Elster, or Judy Barton., a seemingly possessed and married debutante. After viewing "Vertigo" for the first time, it would be easy to call it spinning ride. The story takes place in the late 1950s in San Fransisco, recently after the retirement of John Ferguson from the police force.
She was a fickle lover to the many men she dated. For a number of years, he lived for time spent with this illusion of a lover. Already he was playing with the idea of going East to New York. He wanted to take Judy Jones with him.
Stars played a crucial role in the Hitchcock’s American films. When we analyse Hitchcock’s works in the 1940s and 1950s, it is deeply embedded in the star system. James Stewart served as Hitchcock’s icon of American manhood since his collaboration in Rope (1948). Amy Lawrence in her article “American Shame Rope, James Stewart, and the Postwar Crisis in American Masculinity” notes that “Stewart’s first film with Hitchcock highlights one of the recurrent themes of Stewart’s star image: the exploration of an American masculine subjectivity threatened at all times by a frequently undefined but inescapable sense of shame. While key elements of Stewart’s persona (a propensity for physical and spiritual suffering, lingering fears of inadequacy)
Many of the elements of Hitchcock’s art-the yearnings of the private self, the shape of gender roles, the deep strangeness of the normal, the rich self-consciousness about the social or psychic meanings of film technique-emerge not simply as discrete themes or issues but an ongoing enterprise of cultural diagnosis. Thus Hitchcock, may be seen as something of a 20th century Tocqueville, anatomizing the lineaments of American culture and society, testing and contesting the “habits of the heart” that make America, truly American. Hitchcock is a cultural critic of remarkable insight and undeniable prescience/foresight (Freedman & Millington 6). When America was trying to construct and re-modify a new image for the nation in front of the whole world, Hitchcock was equally engaged in interpreting the middle-class ideology that