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Cargando... Vertigopor Alfred Hitchcock (Director), Alec Coppel (Screenwriter), Samuel A. Taylor (Screenwriter)
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. Cool film reveals the big plot twist midway through. Très chic double-deaths with an over-the-top, over-the-tower Grand Guignol ending! ( ) A retired cop is hired to follow a woman whose husband claims she’s possessed. Suspenseful, fairly unique, and unmistakably 1958. It’s kind of two different movies, one after the other. About two thirds of the way through the film, the first story comes to a climax, things twist around, and a new story starts in a different direction. The first time I saw it, that bothered me a lot, and I wasn't really able to get into the second story. Watching it a second time, it's like a completely different movie. The first section now seems like prolonged set-up to the second section - which, now that I'm not distracted by having the rug pulled out by Stewart's miscasting, I can appreciate as having some of Hitchcock's strongest moments. Concept: B Story: B Characters: B Dialog: B Pacing: B Cinematography: A Special effects/design: B Acting: B Music: A Enjoyment: A GPA: 3.3/4
As Hitchcock cuts back and forth between Novak's face (showing such pain, such sorrow, such a will to please) and Stewart's (in a rapture of lust and gratified control), we feel hearts being torn apart: They are both slaves of an image fabricated by a man who is not even in the room--Gavin, who created “Madeleine” as a device to allow himself to get away with the murder of his wife. As Scottie embraces “Madeleine,” even the background changes to reflect his subjective memories instead of the real room he's in. Bernard Herrmann's score creates a haunting, unsettled yearning. And the camera circles them hopelessly, like the pinwheel images in Scottie's nightmares, until the shot is about the dizzying futility of our human desires, the impossibility of forcing life to make us happy. This shot, in its psychological, artistic and technical complexity, may be the one time in his entire career that Alfred Hitchcock completely revealed himself, in all of his passion and sadness. (Is it a coincidence that the woman is named Madeleine--the word for the French biscuit, which, in Proust, brings childhood memories of loss and longing flooding back?) YOU might say that Alfred Hitchcock's latest mystery melodrama, "Vertigo," is all about how a dizzy fellow chases after a dizzy dame, the fellow being an ex-detective and the dame being—well, you guess. That is as fair a thumbnail digest as we can hastily contrive to give you a gist of this picture without giving the secret away. And, believe us, that secret is so clever, even though it is devilishly far-fetched, that we wouldn't want to risk at all disturbing your inevitable enjoyment of the film.... Mr. Stewart, as usual, manages to act awfully tense in a casual way, and Miss Novak is really quite amazing in—well, here is a bit of a hint—dual roles. Tom Helmore is sleek as the husband and Barbara Bel Geddes is sweet as the nice girl who loves the detective and has to watch him drifting away. "Vertigo" is prime though uneven Hitchcock and with the potent marquee combination of James Stewart and Kim Novak should prove to be a highly profitable enterprise at the boxoffice. Stewart, on camera almost constantly throughout the film's 126 minutes, comes through with a startlingly fine performance as the lawyer-cop who suffers from acrophobia--that is, vertigo or dizziness in high places. Contenido enThe Alfred Hitchcock Collection: The Best of Hitchcock, Vol. 2: Vertigo / The Birds / The Trouble with Harry / Frenzy / Marnie / Saboteur / Torn Curtain / Family Plot por Alfred Hitchcock Alfred Hitchcock Classics Collection: Rear Window, Vertigo, Psycho and The Birds por Alfred Hitchcock Alfred Hitchcock ,The Masterpiece Collection, Discs 5-8: The Trouble With Harry / The Man Who Knew Too Much / Vertigo / Psycho por Alfred Hitchcock The James Stewart Hollywood Legend Collection (Vertigo / Rear Window / Harvey / Winchester '73 / Destry Rides Again) por James Stewart Es una adaptación deEs parodiado enTiene como guía/complementario de referencia aTiene como estudio aTiene como suplemento aPremiosListas de sobresalientes
Scottie Ferguson, a San Francisco police detective is forced to retire when a freak accident gives him a severe case of acrophobia. Ferguson is hired by a rich shipbuilder to follow his wife who is behaving suspiciously and might be planning suicide. He falls in love with her, she is later murdered and Ferguson becomes demonic in his desire to re-create her in another woman. No se han encontrado descripciones de biblioteca. |
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