Every 10 years since 1952 From 1952 to 2002, the unavailable classic classic "Citizen Kane" of Orson Wells was changed to #1. 2012, however, finally saw anxiety, with "Citizen Kane" fell to #2 and "Vertigo" by Alfred Hitchcock. After 50 years, there was a new "Best Film Made". This was something surprise, because Vertigo was not always considered a classic of top-10 levels from view and sound surveys. Indeed, Hitchcock's psychosexual thriller did not break the upper echelons of the survey until 1992, when he debuted on #4.

I am old enough to remember the collective grooves omitted in 2012. Of course, the raised world about the loveood "Vertigo", but ... why that one? "Vertigo" is a notorious sloping film, which is chosen by non -intense, dreamed tone. There are strange topics of romantic and sexual obsession, as well as even the foot of sexual dominance that emits a BDSM gig. "Vertigo" is also a soap thriller that reveals that the hero of the golden boy is aggressive, off, controlled deviant to the end. Fans of David Lynch's "Blue Velvet" You will get a blow from Vertigo.

At the same time, Vertigo is very strange, with their thriller elements ending halfway through the film, just to be planted by a new kind of obsession drama. It's sloping. Hard. Out of putting. Ask any Hitchcock film or fan, and they are likely to tell you that they prefer more films with a crowd like "Psycho", "Rear Window", "Narcot", "Northwest", "Birds", "Rope" or "Foreigners".

And yet, "Vertigo" is often referred to as Hitchcock's best film. Why is that?

The reason is that Vertigo rests at the end of someone's movie trip. It is so complex and stuck in Hitchcock's personal interests that it only appears as a classic as soon as you have seen many other Hitchcock movies.

If you have a great film program, make sure the "dizziness" is at the bottom. Like a mainstream thriller, Vertigo barely works. The above -mentioned walk is certainly a problem, with Hitchcock often pushing his film into a spiritual space. Many passages in Vertigo resemble slow movement, low-budget horror films like "Carnival of Souls" than exciting psychological thrillers like "psycho" or "rear window". Very Hitchcock's many unophytes probably have experience of looking at something more exciting as "birds" Or "north of the northwest", and then jumping directly to "Vertigo", just to discover alienating, bizarre experience.

Briefly cover the story, "Vertigo" is for the Jamesesheims Stewart, a former police detective who is hired by an old friend named Gavin (Tom Helmore) to follow his wife Madeleine (Kim Novak). Madeleine, you see, became obsessed with a dead woman named Carlotta Valdes and behaves as if she could possess Carlotta's spirit. Madeleine regularly looks at Carlotta's old portrait and even wears her hair the same way. As Scotty approaches, he finds himself romantically attracted to Madeleine, despite her witty longing for death. However, halfway through the film, Madeleine dies by jumping from a high Bellian tower. Scotty is unable to stop her because of his acrophobia, a condition he acquired while working as a police officer.

The back half of the "Vertigo" changes the gears. One day, with coincidence, depressive scotos meets red hair named Yudi (also Novak). He starts lurking, thinking he could be a madeleine reincarnation that can manipulate. Jududi eventually agrees to meet him, but Scotty only becomes controlled and anger, changing her appearance to make her more like Madlin. There are additional twists over.

As mentioned, it's a strange movie. "Vertigo" really has no useful "lift -terrain", and revolves around the sad, confused people. You have to see the usually healthy stewart becoming the equivalent of the 1950s of sexual domain is certainly unexpected, to say at least.

Perhaps above all, Vertigo requires a lot of excuse. That is, in the classical sense of the word, pretentious. The film professor will happily walk you through the film craft of the film and point out why what Hitchcock did was bold, unique and brilliant. The use of the color of Hitchcock in Vertigo is noticeable, with the reds being opened as open wounds of passion and greenery standing for lifes. Hitchcock gloriously wore Novak in a gray suit, something blonde women didn't usually do at the time. It was supposed to look striking, but also a little "off", as if it were a product of Scotty's imagination. Later in the film, when Scotty forced the unwanted yudi to dress like dead Madeleine, she bathed in the green light.

He may want to pay attention to framing. Everything noticeable in Vertigo is put in the dead center of the frame. Cinematographic "Rule of Third" Often ignored. The effect is strange. The audience is used for off-center. "Vertigo" forces us to look at the environment, how to star in a whirlwind. This type of work can only be recognized as brilliant after one developed basic knowledge of cinematography.

Also, "Vertigo" has been playing directly at the Hitchcock fetishes, as it has been lying for decades. His female waters tend to be icy, insincere blondes dressed in tight, armored dresses. Hitchcock certainly had a kind, and his need to dress them in a certain way for his films borders the unwanted. "Vertigo" was not just Hitchcock to give in to his fantasies, but he was interrogated. How does the director differ from the angry, horny score, insisting that a young woman turns into her final fetish subject? You can only see this for Vertigo, after someone has a working closeness to Hitchcock or maybe even a person outside the Hitchcock screen.

After seeing enough Hitchcock films, Vertigo begins to coherate as a work of brilliance. But it is very, very important to see it as it lasts.