Posted in: Alfred Hitchcock, by Robert C. Cumbow, Contributors, Directors, Essays

Death and the Detective: Vertigo Revisited

Once upon a time an 11-year-old boy went to see the new Hitchcock movie.
He came home crying, and didn’t understand why.
Fifty-two years later, he thinks he knows.

Scotty Ferguson, recovering from the suicide of Madeline Elster, and from his guilt at having failed to prevent it, quite casually encounters on a San Francisco street Judy Barton, a young woman who, despite profound differences, reminds him eerily of Madeline.

Kim Novak as Judy

Scotty can have Judy. She as much as tells him so: “To tell you the truth, I’ve been picked up before.” (Of course, we soon learn—though Scotty doesn’t—that she isn’t simply “easy”; she is actually Madeline, or the woman Scotty thinks of as Madeline, and she is still in love with Scotty, even as he is with her.)

So why does Scotty so desperately need to turn her (back) into Madeline before he can love her?

It is precisely because he can have Judy that he doesn’t want her. Among the many things Alfred Hitchcock’s Vertigo is about is the fantasies of men (underwear fetishism; necrophilia and its more common image, the defenseless sleeping woman; the confusion of dream women with real women; the seduction of a younger woman; the seduction of a stranger; dressing-up games, and undressing ones; voyeurism; playing doctor-and-patient, which Hitchcock had earlier assayed in Spellbound). And what men want is what they cannot have.

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Posted in: Blu-ray, by Sean Axmaker, Contributors, DVD

Box Set Bonanza: Flynn, Novak, Kurosawa, Guitry & Walsh, plus Elvis at 75 – DVDs of the Week

What a couple of weeks for DVD collections. They’re usually paced through the year until the Christmas rush, when the emphasis is on the new, the familiar and the cult. Well, Christmas came early this year for fans of classic cinema, and of course it hit while I’ve been traveling and have had less time than usual to explore them. So I’ve sampled my way through each of these sets, seeing two or three films from each collection and dipping my toe into the supplements (which is a moot point for some of them). I wish I’d had more time to view and more time to reflect and write, but as I’ve got a single weekend before I’m off again, I’m going to get through these before they are completely outdated. I present them chronologically: oldest films to most recent.

Presenting Sacha Guitry (Eclipse Series 22) (Criterion)

The Story of a Cheat

How did the reputation of actor, playwright and filmmaker Sacha Guitry, once the toast of French theater and cinema and popular culture, so slip into obscurity over the years? In the United States, at the very least, he is barely a footnote and his films all but impossible to see. This box set of four comedies from the thirties, written and directed by leading man and defining personality Guitry, goes a long way to correcting both oversights. The Story of a Cheat (1936) takes the idea of narration to a new level in a comic memoir of a reluctant scoundrel (“What have I done to the Lord that people constantly solicit me to engage in crime?”) recounting his life in snappy flashbacks with running commentary. The visual credits sequence alone (which surely inspired Orson Welles’ visionary trailer to Citizen Kane) is a treat. The Pearls of the Crown is even an even more intricately cut bauble of a lark, a tale that bounds through history (and multiple languages) and over the globe to trace the journeys of seven perfect pearls, and once again teases the audience with its tongue-in-cheek storytelling and droll self-awareness when it comes to actors playing multiple roles.

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