🎦 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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SPOILERS GALORE! If you've never seen the movie, DON'T READ this review!
I suppose this is some kind of masterpiece, what with the absolutely overwhelming photography, powerful score and all - but I must say I just couldn't get into it. We're made to be patient through a looooong exposition (Scottie following her around), which I didn't mind at first because I said, "Hey it's Hitchcock - the payoff will be worth it." Well, it wasn't. Scottie's obsession was inexplicable to me (and, yes, I realize that Kim Novak is hot); maybe the writing was weak in not giving him a strong and clear enough motivation for going over the edge (what were his other romantic attachments like? Why is *this* one in particular so extremely excessive? Knowing these things would help) or maybe it's just that I can't buy Jimmy Stewart in this type of role. He projects too much groundedness, dignity and common sense for him to be convincing as this kind of obsessional basket case (the scene with him in the asylum was particularly embarrassing and unconvincing; he doesn't look "crazy" - he looks like Jimmy Stewart just refusing to say his lines). Maybe an actor a bit more rumpled and on the edge - Robert Mitchum, say - could have brought the part off better (and I'm a *huge* Jimmy Stewart fan, just so you don't get the wrong idea).

My biggest problem, however, is with the final third of the movie. Excuse me, but I just don't think it was a good idea to reveal the murder plot and its actual machinations two-thirds of the way into the film. Not knowing for certain up until the very end whether "Judy" was really "Madeleine" or whether Scottie was indeed just imagining things would have been much MUCH more effective. It would have pulled the viewer in, kept him guessing and psychologically on edge all the way through. Once you know that Scottie is "correct" in his assumption, not only is the tension gone and you're no longer immediately connected to the story, also you can't truly buy his craziness or obsession as a thematic point since, after all, he's "right." I believe this to be one of the all-time biggest scripting mistakes in the history of cinema.

Hitchcock has said, though, that suspense is not what he was primarily after in this movie. He wanted to reveal the murder plot early so it wouldn't get in the way of the attention paid to Scottie's disintegration. But without the suspense, Scottie's disintegration just looks stupid. It's like the end of the movie has already come and gone, and yet the director is still forcing us to sit through a drawn-out and pointless epilogue that just takes foreeeeeever. . .

And the ending - what's with that?! She sees a nun and so she jumps off the roof? It's absolutely RIDICULOUS - so abrupt and nonsensical, as if the editor suddenly told Hitchcock that he had to end the film RIGHT NOW, and he had to think of something fast. Clearly, the best ending (if the film had to go this long) would have been for her to slip off the edge, and then have Scottie try but fail to save her - thus mirroring his failure to save the cop at the beginning of the movie from falling, giving the whole thing a neat little symmetry. That Hitchcock failed to see the absolute rightness of this conclusion makes me wonder about his status as a cinematic genius.

Well, ok, I won't go that far - Hitch's reputation is safe. But Vertigo's isn't; this is no masterpiece, and far from the director's greatest work. Instead, this is the one film where he deserted his "popcorn" approach to creating thrills and opted for a more pensive and "mature" style, thinking this would prove him the artist so many denied that he was. It does just the opposite - by playing down what he did best (building and sustaining suspense), Hitchcock is left rudderless, and his attempt at "adult" themes just look embarrassing.

It's beautiful to look at, of course - one of the most sumptuous visual experiences in the entire history of movies. The redwoods scene, and the Golden Gate Bridge - fantastic! The scenes in the museum, too - absolutely ravishing. But, alas, great photography does not make a great movie. If only Vertigo were a coffee table book, then it might truly deserve the classic status it has been accorded.

I don't know, I guess if you're a fan of the technical aspects of cinema, and love Hitchcock for his visual bravura and like to analyze his technique, there's probably a lot here for you to enjoy (and is no doubt why it's so loved by other directors). But if you're like me, and enjoy Hitchcock films for their pure ability to keep you tense and on the edge of your seat, Vertigo is not the film to watch.
Unforgettable and fascinating film about a retired police falling in love with a strange woman
Classic and haunting suspense by the master himself , Hitchcock , dealing with tragic events when an ex-cop keeps an eye on a gorgeous woman . Genuinely great movie focuses a San Francisco ex-detective (James Stewart) suffering from acrophobia , fear the heights , as he is contracted to shadow an old chum(Tom Helmore)'s wife . He investigates the rare activities of an old friend's spouse, all the while becoming dangerously obsessed with her . He finds himself eventually falling in love with her (Kim Novak) , then , tragic drama and fateful events stark .

The first part of this extraordinary production results to be slow-moving ; however , the rest takes off at fast speed . Hitch plays on the senses and keeps the suspense and action in feverish pitch . All the elements for a suspenseful evening are in place and things move at an intelligent pace . The story is typical Hitch fare , an issue of fake identity and treason that embroils a man in suicide and murder . Hitch had one of most charming actors of all Hollywood as James Stewart stars a detective who has acrophobia , he also played ¨Man who knew too much¨ and ¨Rear window¨. Furthermore , a marvelous Kim Novak at her best . Good secondary role from Barbara Bed Geddes as eternal girlfriend and Henry Jones as judge . As usual , Hitch's cameo as man walking . Samuel Taylor screen-written from the interesting novel ¨From among the dead¨ by Pierre Boileau . Colorful cinematography in dreamlike style by Robert Burks , Hitch's ordinary . Very good sets and production design by Henry Bumstead and Hal Pereira . Riveting and thrilling musical score by Bernard Herrmann who composed various masterpieces for Hitch as ¨North by Northwest¨, ¨Psycho¨ , ¨Wrong guilty¨ and ¨The trouble with Harry¨

Vertigo is one of Hitch's most stylish and discussed films and will keep you riveted and excited until the edge-of-your-seat . Indispensable seeing this quintessential Hitch movie , demanding numerous viewings .
My favorite movie of alltime!
I have seen ALOT of movies in my life, but none have moved me the way Vertigo has...It's simply brilliant...the more times one views it, the more one picks up from it...a true masterpiece from the master himself...When I think Vertigo, I think the colors red and green...when I think Vertigo I think obsession with love, and the film itself...This movie is so deep that you could write a thesis on it and keep adding to it from time to time...Hitchcock really gave his all in this picture...it's about the ultimate love...wanting to achieve the ultimate love, and, as happens in life, never having love turn out to be the way we want it to be...all star performances by Stewart, Novak and Bel Geddes make this visually stunning masterpiece a true film classic...Newly restored, the DVD version simply blows you out of the water....I have seen the movie about 20 times now, and everytime I love it more...Vertigo is the ultimate cult film for me, as I keep going back to it more and more...considering it's dark storyline, it must be a glut for punishment, but Hitch only keeps me wanting more....10 stars...only because I can't give it 100 stars!
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.
"I know, I know. I have acrophobia, which gives me vertigo, and I get dizzy." (Scottie to Midge)
Although it was only modestly successful in theaters, time has been kind to VERTIGO and now many believe this is Hitchcock's masterpiece. Time was NOT kind to the original prints of the film, and in the mid-1990s Universal Studios put up one million dollars for a two-year restoration of the film. This is covered completely in a fairly fascinating 29-minute extra on the DVD, originally broadcast as an A&E special. The entire original film-making process is covered, the movie was first called "From Among The Dead", and includes current interviews with many principals, including Novak and Bel Geddes, plus the techniques used for the restoration. This special edition DVD should be a must-own for any fan of the film VERTIGO. The sound and picture are just fabulous for a film made in 1957.

My review, following, contains certain SPOILERS which are necessary for my summary. Please read no further if you have not seen the film. Watch the film first, you will not be disappointed.

The film starts with cops chasing a crook on SF rooftops, Scottie (James Stewart, 49) misses one roof, is hanging high from a gutter, cop returns to offer assistance, but instead falls to his death. This traumatic experience triggers the vertigo in Scottie, makes him unsuited for police work, he quits, and Midge (Barbara Bel Geddes) tells him only another emotional shock will bring him out of it. Midge, an artist, not so secretly wants Scottie, but while they are good friends, he just doesn't love her.

Old college friend, wealthy shipbuilding magnate, hires Scottie to follow his wife who had been acting strangely. He meets Madaleine (Kim Novak, 24) and follows her to find that she visits the grave of Carlotta, who died at 25 in 1857, also visits the portrait of Carlotta at the art museum, has "visions" of being in a Spanish mission, all indications are that the dead Carlotta is taking over Madaleine's mind. While following her, saving her from a jump into SF Bay, and keeping her from jumping into the Pacific, Scottie is falling in love with her, the first time he has had such feelings.

Scottie feels he needs to take Madeleine to the old mission 100 miles south of SF to free her of this possession, but instead she climbs up the mission bell tower, Scottie is unable to follow quickly enough, his vertigo holding him back, he hears a scream, sees what looks like Madeleine's body falling to the red tile roof below, dead. A quick inquest ruled it a suicide, the friend gets out of shipbuilding, travels, while Scottie tries to get over his great loss, his first ever love, includes a stay in a mental hospital.

Not too long after, Scottie sees a woman remarkably similar to Madeleine walking to her residence, a hotel, he follows her, knocks on the door, she is dressed differently, has different color hair, a different personality, speaks differently, and says she is Judy, from Kansas, has lived there 3 years, even shows Scottie her ID to prove it. But Scottie has not gotten over Madeleine, is obsessed with recreating her, asks Judy to dress like her, get her hair colored, all the while Judy just wishes Scottie would like her for who she is, not because she looks like someone else. But she gets completely back to the Madeleine look, same clothes, same hair color.

By now we have seen through Judy's flashback what is really going on. The wealthy husband had hired Judy to impersonate his wife, Madeleine, and had set up the incident at the mission so that he could shove the already dead wife off, Scottie would be the manipulated witness that she had climbed the stairs and jumped off, and after being paid off, Judy could resume her life. To her detriment, he also gave her the heirloom, Carlotta's necklace, and her wearing that is what got Scottie suspicious of the whole scheme. He catches on, brings Judy back to the mission, they climb to the bell, a nun approaches to see what is going on, Judy panics and falls to her death on the roof. Scottie no longer was in love with her, feeling lied to and manipulated, he has no emotion, but goes to the edge of the ledge and looks down, his vertigo gone. The emotional shock that Midge spoke of has cured him.

The story is a tragedy of two lives that only through misfortune become intertwined, Scottie's and Judy's. He is not young, now retired, and had never found true love. In Madeliene he thinks he found it, only to be shocked then disillusioned when the full truth came out. When Judy died, he was back where the film started. Maybe Midge was the one after all. Judy was very flawed, enough to participate in a murder plot and feel no apparent guilt over it. All she wanted was to be loved by Scottie, but a relationship built on fraud has no chance, especially since Scottie was an honest man.

James Stewart is known for his ability to play an "everyman" character, and is superb as Scottie. Kim Novak is a bigger mystery. She was not the first choice for the role, received it virtually by default, but after watching the movie it is hard to imagine anyone else playing the dual roles of Madeleine and Judy, she pulls it off so well. A big bonus is her commentary on the making-of extra, seeing her after all these years. She was only 24 when Vertigo was filmed, but she looked 40, a glamorous and beautiful 40. Actresses today who are 24 often still play teenagers. How things have changed in the movies!
Not nearly up to the usual Hitchcock standards on detail and logic.
I side with those who have criticized this film as being exceptionally poor by Hitchcock standards. While Psycho, North By Northwest, Suspicion, Dial M For Murder, et al, employed the virtues of logic and rationality coupled with Hitch's normal dose of high suspense, this film fails in nearly every way to convey the seeds of reality. Thus I couldn't appreciate whatever suspense it tried to conjure. The whole storyline seemed flooded with improbabilities, illogical sequences, flawed reasoning, and implausible character acts & emotions. It's hard to imagine that Hitchcock was responsible for this film, or that James Stewart, Kim Novak, and Barbara Bel Geddes agreed to act in it. Just for starters, why in the world would a spouse cook up a scheme this ultra-elaborate & complicated to do away with his wife? Wouldn't arsenic or an auto accident be simpler to arrange? And why would he decide to frame one of his closest friends, anyway? How could the dead wife be toted up that long spiral stairs at the bell tower by a man in his sixties? And would he really allow for the risk of being detected while making that long climb up? How could Madeline (Judy)adore a man she was also setting up as a patsy? Why would she stay around after the murder and risk being identified as an accomplice, as indeed she finally was? Why would she allow easygoing Scottie to coerce her into wearing all those new clothes and unraveling her disguise after seeing that he was suspicious? For that matter, why would she permit herself to be prodded into climbing the belltower stairs once she realized he was on to her? Her resistance seemed token. Maybe there are explanations for these and 100 other things I didn't understand, but together they ruined the film for me.
The score, the post-transformation kiss, the ending. I've seen Vertigo six times now and it still thrills me.

James Stewart is just plain brilliant as Scotty. He starts off as a light-hearted, good natured guy and becomes very manipulative, very single-minded, very scary, very un-Stewart-like. And yet, even as he's leading the woman he thought he was in love with up the stairs in an emotionally manic frenzy, Scotty's still a completely sympathetic character. He's manhandling Judy, screaming at her, and at that moment you can really *feel* that his heart has been ripped from chest. You don't want Judy to come to harm, but you can't begrudge Scotty his rage either. Whatever happens, you know there can be no happy ending. And as Scotty stands in the bell tower looking down at his lover's corpse for the second time, you and he are utterly crushed. Now *that's* cinema.
Hitchcocks most boring among his "classics"
I love North by Northwest, Birds and Psycho.

But Vertigo is too long and too boring.

The story in it self is interesting enough but it should have been at least half an hour shorter. Especially because the ending (Judy and the Madeleine is the same person) is obvious from the moment he knocks on her door. Also why would they pull off a staged suicide that well and she would be dumb enough to stay in the city in the exact same room? Why didn't they just made it seem like the wife was murdered and frame John for the murder? How can John just leave a place where he's been committed?

And most importantly: why did Hitchcock insist on using crappy studio shots for almost every outdoor location, whenever the actors were talking?? This actually annoyed me so much that I had a hard time concentrating on enjoying the movie!! Even in 1958 those awful background matte paintings must have looked so fake. Or the scene in the forest or by the ocean or the bay where it's all studio shots!! Or the night painting of the city in Midges apartment!! Or every shot of an actor driving with a fake background in the rear window.

It seems profoundly stupid, when they had already shot a lot outside!! I just don't get why???
Fine puzzler from Hitchcock.
The initial critical verdict of Vertigo was that it was not one of Alfred Hitchcock's better films. Time has turned it into his most analyzed and revisited movie and, in the eyes of many, his masterpiece. I still don't subscribe to the opinion that this is Hitchcock's greatest film (give me The Thirty Nine Steps, Foreign Correspondent or North By Northwest) but it is certainly a wonderfully absorbing mystery, and the original indifference that greeted the film from critics and audiences was totally unjust. It takes multiple viewings to fully appreciate what Hitchcock is up to in this movie - it is a sophisticated and multi-layered film that grows in stature the more times you view it.

San Francisco cop John "Scottie" Ferguson (James Stewart) has a hair-raising escapade on a rooftop while chasing a robber. Thereafter, he develops vertigo (a fear of heights) and retires from the force. Some while later Scottie is contacted by his old friend Gavin Elster (Tom Helmore) who wants to hire him for a little unofficial private detective work. Elster is worried by his wife's increasingly outlandish behaviour - she seems to go into a dreamy state of mind and wanders off for hours on end without any explanation as to where she has been. Scottie's job is to tail her and learn where she goes. The mystery thickens when Scotties starts following Madeline Elster (Kim Novak).... the more he learns about her and her wanderings, the more it seems that she is possessed by the spirit of her long-deceased ancestor Carlotta Valdes. Eventually Scottie saves Madeline when she tries to drown herself in San Francisco Bay, and soon after they fall in love. But just as Scottie begins to make headway into her psychological problems, she kills herself by leaping from a bell tower. Scottie is left in a state of mental shock but later, following his release from hospital, he bumps into a woman named Judy (Novak again) who is the exact double of Madeline....

Hitchcock generates a stunning air of mystery with Vertigo, coaxing brilliant performances from Stewart and Novak and using the location of San Francisco as almost a third leading "character" in his story. Stewart's obsession with Novak, and his descent into madness as he grieves over his inability to protect her, is brilliantly portrayed. As ever - in fact, more so than ever - Hitchcock keeps the audience off-balance with his disorientating camera work, ingenious plotting and atmospheric use of colour. Bernard Herrmann contributes a haunting score (his fourth for Hitchcock) that heightens the passion and suspense even further. The solution when it comes is extremely clever, and proves (as if proof is needed) that Hitchcock has a masterful touch when it comes to clever plot twists. The film's chief drawbacks, for me, are the excessively studied pacing in the first half, and the somewhat abrupt ending. On the whole, though, this is a superb film which is always a pleasure to come back to.
Hitchcock at his most revealing best!
One of Hitchcock's three best movies (North by Northwest and Rear Window are my other two favorites) which I can watch over and over again.

The external reviews for Vertigo will give you more insight into this movie than I can but for me, when I first saw this movie in the late '50s (I was very young), it planted the seeds that drove me to move to the bay area from the east. My obsessions were cultivated later.

The setting, San Francisco at its prime, with its hills and sharp light contrasts because of the surrounding waters add to the ever changing but hypnotic backdrop of this color film. Even Bernard Herrmann's music score emphasis the mood swings of its characters to pull the viewer into its vortex.

Vertigo is a dizzying production of dark and light, ups and downs. It is the story of one man's obsessions for controlling his surroundings and desires to a point where his life is spinning out of control. Or is it? It has been written that Hitchcock in real life was controlling and manipulative ("All actors should be treated like cattle") and why all the blonde, austere, frigid women? So, plot, acting, direction, photography and music are all mingled to give the viewer a wonderful, mesmerizing, voyeuristic look into obsessive behavior. More relative today, almost 50 years later!
📹 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. 📀