🎦 Vertigo full movie HD download (Alfred Hitchcock) - Crime, Thriller, Mystery, Romance, Film-Noir. 🎬
Crime, Thriller, Mystery, Romance, Film-Noir
IMDB rating:
Alfred Hitchcock
James Stewart as John 'Scottie' Ferguson
Kim Novak as Madeleine Elster
Barbara Bel Geddes as Midge Wood
Tom Helmore as Gavin Elster
Henry Jones as Coroner
Raymond Bailey as Scottie's Doctor
Ellen Corby as Manager of McKittrick Hotel
Konstantin Shayne as Pop Leibel
Storyline: John "Scottie" Ferguson is a retired San Francisco police detective who suffers from acrophobia and Madeleine is the lady who leads him to high places. A wealthy shipbuilder who is an acquaintance from college days approaches Scottie and asks him to follow his beautiful wife, Madeleine. He fears she is going insane, maybe even contemplating suicide, he believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine.
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Ooh, what a rush!!
No-one enjoyed toying with people's minds quite like Hitch; and "Vertigo" is a film that earns its right to sit proudly alongside his other psychological masterpieces. Stewart is superb and perfectly cast as the archetypal 'common man' who, after an accident, suddenly finds himself embroiled in a dizzying mystery he struggles to keep up with. If this all sounds a bit too "Rear Window", it plays sufficiently fresh to offer its own distinct pleasures, but it would probably be true to say that fans of one will certainly delight in the other, as well.

From the captivating vortex of the title sequence onward, "Vertigo" plunges headlong into the story. This wouldn't be Hitchcock without even a hint of a Macguffin, but the real power of the story for me came from being drawn into someone's obsession, and of course the stunning climax of its ultimate resolution. A widely acknowledged classic that's lost none of its thrall in the modern age, "Vertigo" is totally absorbing, and grips you like few other tales have managed to do.
Obsession with mystery
The basic plot: An ex-police officer with fear of heights is assigned by a friend of his to keep an eye on his seemingly off-the-edge of sanity wife , but he soon becomes enamored with Madeliene and when she commits suicide ,he finds another girl with a passing resemblance to her who he has clothed, dressed , and done ultra-specifically like Madeliene, but then he learns her secret......

The praise: Incredibly dreamy and cool, actually an allegory of the human love of the difficult and mysterious, the strange and the icy(Madeliene), over the plain and familiar( Midge, his ex-fiancee ), and the natural urge to explore and obsess with the strange,scary and beautiful in the human sex urges. Oh,yeah and James Stewart and Kim Novak are truly great in their respective roles. Jimmy Stewart is near-perfect as the mild-mannered soul with kernels of obsession both sexual and for a single mysterious woman , with a phobic fear of heights, known as Scotty. Kim Novak is perhaps perfect, drawing on wells of truly deep emotion and currents of beauty untold. Oh yeah, there is a great swooning Bernard Herrman score. It is the most stylish movie , elegantly photographed and designed with a truly elegant beauty that is both modern,old, and religious.There also is great suspense along the way , thrills,chills and mood. Perfect Hitchcock. Must-see.

The flaws: The ending is too uncharacteristic and pat of the rest of the film.

A Great Classic Thriller That Works on Many Levels
Vertigo is many things - a meditation on the illusions engendered by romantic attraction, an original and engrossing psychological thriller, a story about how people cope with trauma and psychological problems in ways that can ultimately prove self-defeating, a film about how people deceive each other, and a look at the ways that men and women lie to each other in the context of heterosexual relationships. Not only is the plot engrossing and the story told one that touches on many interesting and important themes, but the motifs employed throughout the film (the hairstyle employed by the woman in the picture in the art gallery and in other places throughout the film, the necklace, paintings, the old church building, the nuns, the grave, and agoraphobia and vertigo themselves as phenomenological experiences and psychiatric conditions) are nuanced, expertly deployed, and lend themselves to an even deeper analysis than the one provided here. I also found the contrast between John's ex-fiancé and the other woman he falls in love with to be an important contrast in the film as well. The score is amazing and the way that the sound and visual elements work together make it very clear why people say that Alfred Hitchcock was the master of suspense.
Hitchcock and Stewart deliver a Classic
I have been a die-hard fan of "Vertigo" for over 10 years, having seen it over again and again, but up until now I could not put into words about how I felt about the film until now. And so here I go, pulling you the reader of this review into a story of obsessive love and serious phobias.

As the film opens, we see Detective "Scottie" Ferguson (James Stewart), in pursuit of a criminal with a fellow officer. As he tries to jump across a roof, he slips and falls, hanging on for dear life. The fellow officer, in an attempt to help him, falls to his death. It seems that he has acrophobia, which causes his vertigo and forces him to retire from the force, feeling guilt about the officer's death. Sometime later, while visiting with his former girlfriend Midge (Barbara Bel Geddes), Scottie tells her about Galvin Elster (Tom Helmore), a former college friend that needs his help. It seems that Elster's wife Madeleine (Kim Novak)is acting a bit strange: she goes into trances and disappears for hours without being able to account to her whereabouts. Scottie at first doesn't want anything to do with this. One look at Madeleine however changes his mind. From the moment he lays his eyes on her, he's hooked.

While tailing her, he finds that she is obsessed with an ancestor of hers: an ancestor that went mad and killed herself. Scottie manages to save her from such an attempt (She tries to drown herself in the San Francisco Bay). He starts to fall for her HARD.

During an attempt to help her at the San Juan Batista Mission, Madeleine runs from Scottie and up the tower. Scottie, unable to continue up the tower because of his acrophobia, can only watch in horror as Madeleine falls to her death. The death of the woman that he had fallen in love with is more than he can bear and it drives him to a nervous breakdown.

Sometime later, Scottie, still haunted by Madeleine (And visiting some of her haunts)sees Judy Barton (Novak again), who looks remarkably like Madeleine. Scottie soon becomes obsessed with turning Judy into Madeleine (Even having her sit by the fire the way Madeleine did). Scottie is so desperate to reclaim the love he had for Madeleine that he is oblivious to the deceptions that have been surrounding him: He is truly falling in love with an illusion.

All the parts of the film work wonderfully, from Saul Bass' opening titles to Bernard Herrmann's incredibly haunting music. But it is Stewart and Novak that bring the film it's life. When Scottie looks at Judy emerge out of the bathroom as his lost Madeleine, the green light makes her look as if she is truly a ghost, returning from the dead to once again love Scottie.

If you have never seen this film, then you are missing one of Alfred Hitchcock's classic films. This is truly a classic film and a must have in your collection. You will absolutely fall in love with the film.
A movie that demands repeat viewing
In the fifties, Jimmy Stewart made some movies that portrayed him in a not very flattering light. The man that we saw normally playing the bumbling, shy yet great guy was now selfish, vindictive and had lost all faith in humanity. These were great movies and his Scottie in "Vertigo" is one of the better examples of this. Alfred Hitchcock weaves a tale that after watching makes the viewer feel uncomfortable with their feelings. For we identify with Scottie and understand what he does and why we might have done it as well. This is why I think another viewing would be beneficial because knowing all the secrets allows the viewer to watch the movie from a more objective point of view and see how twisted someone can become.
A truly well-made film!
"Vertigo" is James Stewart's fourth and final picture under the direction of the Master of Suspense: Alfred Hitchcock. Today, it is quite difficult to refer to this film as anything less than a gem. (If you have not yet seen "Vertigo," please DO NOT read any further.) Stewart executes an absolutely masterful performance as San Francisco police detective John "Scottie" Ferguson, whose crippling vertigo, resulting from acrophobia, has a detrimental effect on his career. (Hitchcock makes great use of a "reverse zoom" effect, aided by Bernard Herrmann's haunting music score, as the camera aims downward to indicate Scottie's vertigo.) Kim Novak is quite wonderful as Scottie's primary love interest, the supposedly possessed & enigmatic Madeline Elster and the fairly diffident & agitated Judy Barton, both of whom are one and the same. Barbara Bel Geddes is fine as Scottie's very casual girlfriend Marjorie "Midge" Wood; Hitchcock's light touches of humor in this film primarily involve the various scenes with Scottie and Midge together. Tom Helmore as Scottie's old school chum Gavin Elster is the perfect villain who gets away with the murder of his wife Madeline, and he selects Judy to play the part of Madeline in order to dupe Scottie into believing Madeline committed suicide. One question that sticks in my mind is why Hitchcock would blatantly choose to explain how Scottie has been deceived through a flashback remembrance by Judy.

My favorite moments from "Vertigo" include the following. To begin with, Hitchcock is very clever with the use of light, color, and mirrors to astonishing effect in this masterpiece. Some of the best examples of light are the blurriness in the churchyard, possibly indicating Scottie's confusion as he follows Madeline; the sharp contrast between a dark alley and a bright flower shop; the slow dim as book shop owner Pop Liebel (Konstantin Shayne) tells Scottie & Midge about the mental breakdown & eventual suicide of Carlotta Valdes, who was Madeline's great-grandmother; the silhouette of Judy as she sits on her bed, nervous about having a relationship with Scottie; the brightening of the lights in Ernie's Restaurant when Scottie spots Madeline for the first time; and the emerging of what appears to be Madeline in the darkness of Ernie's before Scottie realizes she is a mistaken identity when she walks further into the light. Some great uses of color include Scottie's chilling nightmare sequence and the somewhat sickening neon green light shining into Judy's bedroom, which is really put to good use when Judy emerges from her washroom as the identical image of Madeline, blurred by the green light. Some examples of mirrors are the reflection of Madeline while Scottie spies on her through the door of the flower shop; the two-shot of Midge and the painting she did of herself (a la "Portrait of Carlotta") in an attempt to be funny; and the basic fact that Scottie mirrors his own nightmarish life, loving the same woman twice and witnessing her death falling from the bell tower of an old Spanish mission. Scottie's final dramatic moment of angrily frightening the truth out of Judy by forcing her up the stairs of the bell tower is quite an edge-of-the-seat experience. Equally frightening is Scottie's opening scene as he clings for his life onto a roof gutter numerous stories above the ground, his vertigo taking over as a policeman falls to his death in trying to save him. And Scottie's facial expressions are put to good use in this film as he follows Madeline around in an extended driving sequence with not a word spoken; as he suffers from acute melancholia after Madeline's death, frailly spending his time in a rest home unable to speak while Midge tries to comfort him; and as he delightfully witnesses Judy's transformation into Madeline when she walks toward him from the washroom.

"Vertigo" is considered to be James Stewart's and Alfred Hitchcock's greatest collaboration, which makes it all the more curious that it did not receive greater recognition when it was first released in 1958. Stewart was undoubtedly at the peak of his craftsmanship in "Vertigo"; his brilliant characterization of John "Scottie" Ferguson, as we find out over the course of this picture, is quite obsessive, manipulative, and DARK. In conclusion, Mr. Stewart really worked hard to turn in a frighteningly grand performance under Mr. Hitchcock's masterful direction.
Obsession as Grand Melodrama in Hitchcock's Most Hypnotic Work
This legendary 1958 masterwork from Alfred Hitchcock plays like grand Baroque opera full of exaggerated character motivations and preposterous plot turns, yet it is one of the most consistently involving of his impressive canon of films perhaps because he takes an unsavory subject, sexual obsession, and shapes around it a remarkably perceptive character-driven mystery thriller. Co-written with intricacy by Alec Coppel and Samuel A. Taylor, the tightly drawn story focuses on John "Scottie" Ferguson, a plainclothes detective who quits the police force after his partner dies during a rooftop chase where Ferguson is debilitated by a severe case of acrophobia. An old college acquaintance, now a shipping tycoon, convinces the now-retired Ferguson to follow his disturbed, potentially suicidal wife Madeleine, and thus begins Ferguson's first obsession.

The film twists and turns until her apparent death from a fall from the San Juan Batista mission church steeple. This is where Hitchcock does something quite audacious. Suffering from this unexpected tragedy, the hero of the movie becomes a darker character we are suddenly not sure about. By fate back in San Francisco, Ferguson meets a shopgirl named Judy who bears enough of a physical resemblance to Madeleine for him to stalk her and force her to change her appearance to look like his lost love. At first, it feels rather necrophilic if not downright deranged for Ferguson to act on his obsession of a dead woman, but regardless, a final twist makes the love between Ferguson and Judy impossible to endure. Hitchcock lends a deepening sense of emotionalism to the maddening but addictive spirals of the plot which ultimately makes the film's title even more resonant than the medical condition Ferguson has.

Casting is crucial to making the storyline relevant to a viewer much less credible. In a nice change-of-pace, James Stewart makes Ferguson's obsession palpable, and his everyman demeanor takes on a convincing sinister edge, even though his natural affability sneaks through effectively as a counterbalance. In what remains a most underrated performance, Kim Novak manages to play her dual roles with a surprising lack of affectation, from the cool mystique of Madeleine to the desperate eagerness of Judy. Hitchcock uses Novak's natural detachment as an actress to the movie's advantage, as I doubt the more versatile Grace Kelly could have played at least the Judy part as well. Barbara Bel Geddes has precious few scenes in the relatively thankless role of Midge, Ferguson's sometime girlfriend. The San Francisco locations are used to great advantage - the Palace of Fine Arts, the Palace of the Legion of Honor, Fort Point, the now-defunct Ernie's restaurant, the Podesta Baldocchi flower shop, the cemetery at Mission Dolores - all shot in lustrous detail by Robert Burks. Bernard Herrmann contributes one of his great scores to complement the pacing and atmosphere of the mystery and suspense.

The DVD has the splendid 1996 restoration which captures all the visual and aural splendor of the film. It also includes an alternative commentary track that features Novak, restorers Robert Harris and James Katz, Hitchcock's daughter Patricia and most interestingly, associate producer Herbert Coleman who is full of anecdotes. Harris and Katz figure prominently in an interesting 1997 half-hour documentary on the original production and restoration process. There have been many knock-offs - including Brian DePalma's derivative 1976 "Obsession", Kenneth Branagh's blackly humorous 1991 "Dead Again" and most recently, Jun Ichikawa's coldly antiseptic 2005 "Tony Takitani" - but this is most definitely the one to experience.
Slow, boring, ridiculous, and predictable
I finally watched this old chestnut. I read somewhere that it was a flop when it came out but later became recognized as a classic. Apparently Alfred Hitchcock blamed James Stewart's being too old for the part. The two never worked together again. Well, Stewart wasn't the problem. The problem was the script, which is simply asinine. The public was right the first time: the movie is terrible.

The hero falls in love with a woman who is supposed to be nuts and who gives him no reason at all to fall in love with her. She has a few mad scenes with him but never engages in any conversation of any substance on any topic, never does any activities with him, etc. On top of that, she is his old friend's wife. Her only attraction is that she is good looking, but lust for a pretty woman isn't love, which is what the hero is supposed to feel. Totally implausible.

The movie runs 2 hours. There is a great deal of boring driving around San Francisco and the nearby California coast in the first half of the movie. I started looking at my watch at around 1:15 into the movie. Was this thing ever going to end? At about 1:30 the main plot is revealed. It is pretty silly and quite routine. The remaining 1/2 hour is torture. The plot gets more and more ridiculous, all the while getting more and more predictable. My impatience got more and more intense. When the truly idiotic end finally came, I was both relieved (over at last!) and outraged (what a waste of 2 hours).
A valiant, but flawed effort by The Master (Possible Spoilers)
Vertigo is a good movie by a great director. Viewing Vertigo several times recently, and reading Dan Aulier's brilliant in-depth look at the making of this movie, I am at a loss to explain what I see as a vastly hyperbolic reaction to this movie by many people both in the realm of professional critics and posters on IMDb. This is not Hitchcock at his best, although I do believe it could have been. True, Hitchcock was at his peak in this period, but there are enough flaws in Vertigo to bring this potential masterwork down several notches.

The first problem in Vertigo lies with the story's failure to establish Scottie Ferguson. We first meet Scottie as he fails to make the rooftop leap and is hanging by a gutter of a building several dozen feet from the ground. After this we see him making his decision to retire from police work. The audience is deprived of any referent to the type of person Scottie was before the incident on the rooftop. This failure to establish the character and set a benchmark to measure his return by in the closing minutes of the film deprives the audience of a vital connection to any character. But this problem could have easily been overcome had the third fatal flaw, which I will take up soon, been avoided.

The second problem in Vertigo is a decision by Hitchcock and George Tomasini, the editor, to insert a scene shortly after Scottie meets Judy that reveals all of the secrets the story holds. This throws away the element of suspense that might have had audiences on the edge of their seats during the final part of the movie, unable to relax even at the moment of revelation for Scottie's character as the movie would sweep them up and hurl them through the roller-coaster ride that the climax of the movie should have been. But I think Hitchcock and company made the decision as a direct result of an even earlier and worse mistake.

The third, and most glaring, mistake Hitchcock made with Vertigo was in the casting. Most of the cast does work ranging from passable to outstanding, with one notable exception: Jimmy Stewart. In Aulier's account of the Vertigo project he details how Stewart came to star in this movie, which had a lot more to do with the desires of Lew Wasserman, agent to both Stewart and Hitchcock, than good judgment. Jimmy Stewart was the wrong man for this role, and Aulier recounts that Hitchcock himself blamed Stewart for Vertigo's dismal showing at the box office. Hitchcock concluded that Stewart was too old for the part and refused to cast him in North by Northwest because of this. But I don't think Stewart's age was the real hindrance here, I think Jimmy Stewart tried to step way beyond his range as an actor and falls flat in certain key scenes. Mr. Stewart does a passable job in the first half of the movie, and is quite believable as the ex-detective brought low by his vertigo-inducing acrophobia. The first real hint of trouble comes in the last scene of the first half, Scottie sits in a sanitarium incommunicado and withdrawn as his stalwart friend Midge tries to engage him in conversation. Stewart's playing of this borders on the comedic with a deer-in-the-headlights gaze that calls to mind one of the Warner Brother's toons after being conked on the head rather than a man ravaged by guilt. It drags the scene down so much that Barbara Bel Geddes is left to carry it on her own, and she does make a valiant attempt but her efforts are hindered by Stewart. From this point forward the movie enters its most crucial phase and Stewart's ineffectualness grows more obvious in each successive scene. In the scene where Scottie tries to convince Judy to change her hair color Stewart's phrasing and pitch are semi-comedic. The lack of chemistry between the two leads brings the haunting scene of Judy's emergence from the bathroom to a crashing halt as Stewart is unable to infuse his performance with even a modicum of passion. But a few minutes later Stewart's performance goes completely south as the movie's climatic moments unfold. Scottie is righteously angry as the truth dawns on him, but, unfortunately, Stewart does not play angry well at all. His maniacal and slightly feminine delivery from this point on detracts from what could have been cinematic magic. At a point in the movie where Scottie should have regained his senses and his sense of manhood his tone and pitch shrilly foreshadow the strident tones of Mrs. Bates in Hitchcock's next project.

No doubt my remarks here will be met with disdain by some of the film's more ardent boosters on IMDb. I shall join the ranks of the great unwashed heathens who do not understand great cinema nor Vertigo's rightful placement at the apex of that pyramidal structure. I do appreciate Hitchcock's use of color as subtext in the film (I am particularly fond of the color and lighting shifts in Midge's apartment when she allows Scottie to view her painting). I also appreciate and easily grasp the undertones of Hitchcock's own obsessive behavior with the leading ladies of his work, but wonder if that subtext was intended as dramatic irony or whether Mr. Hitchcock was even aware of the mirror he was peering into. But, the brilliant touches of a master artist are not enough to make up for what this film lacks. Hitchcock was indeed The Master, and his body of work stands above a field of mostly mediocre efforts that his peers were turning out, and even today not one exists who can approach his mastery, but to suggest that Vertigo is the cinematic equivalent of Leonardo's Mona Lisa is ludicrous and undeserved.
A true Hitchcock classic; Stewart's gutsiest role
VERTIGO (1958) **** James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones. Alfred Hitchcock's masterpiece of suspense and romantic obsession: Stewart (in one of his best go-against-the-grain performances) stars as San Francisco cop John 'Scottie' Ferguson, whose eponymous phobia leads him to an on-the-job lethal accident. Sitting out his time off from the force he's enlisted as a private eye to watch a friend's troubled wife Madeleine Elster (the ethereal Novak), who believes she has been reincarnated. Scottie's case leads to complications including the necropheliac emotional overhaul he succombs to after Madeleine's 'suicide' and seeing her in mystery woman Judy Barton (Novak again, proving to be an accomplished actress).

More psychological underpinnings you could shake a stick at and thanks to The Master's multi-layered storyline the film never falters largely thanks to the incredibly affective cinematography by Robert Burks, the adaptation of Pieree Bouileau & Thomas Narcejaq's novel 'D'Entre les Morts' by Alec Coppel & Samuel Taylor and once again the excellent chemistry between the tormented Stewart and the bewitching Novak, proving to be one of the most passionate ill-fated couples in cinematic history. Perhaps the icing on the cake is the hauntingly evocative score by long-time collaborator Bernard Herrmann. A true American classic.
📹 Vertigo full movie HD download 1958 - James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones, Raymond Bailey, Ellen Corby, Konstantin Shayne, Lee Patrick - USA. 📀