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Let's be Vertigo (1958)

I'm Judy Barton, and I've been "understanding" since I was 17.

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by Anonymousreply 154Last Monday at 9:48 AM

I'm the 1957 Jaguar MK VIII driven by Madeleine Elster (Kim Novak)...

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by Anonymousreply 106/22/2020

I'm the grey suit

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by Anonymousreply 206/22/2020

I'm the San Francisco backdrop!

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by Anonymousreply 306/22/2020

I’m Marjorie Wood, and I don’t think Mozart's going to help at all.

by Anonymousreply 406/22/2020

I'm the do-hicky brassiere!

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by Anonymousreply 506/22/2020

I’m Ellen Corby, manager of McKittrick Hotel, and I’ve been here all along putting olive oil on my rubber tree leaves.

by Anonymousreply 606/22/2020

I'm so dizzy, my head is spinnin'

Like a whirlpool, it never ends

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by Anonymousreply 706/22/2020

I am the perfect recreation of Ernie's in SF.

by Anonymousreply 806/22/2020

I'm the grove of eucalyptus trees on highway 101. I'm still here.

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by Anonymousreply 906/22/2020

I'm Madge, walking away from Scotty slowly and sadly.

by Anonymousreply 1006/22/2020

I’m coy but sly Ellen Corby, “oiling the leaves of my rubber plant.”

by Anonymousreply 1106/22/2020

And I’m the brilliant music score by Bernard Herrmann, the only film composer acknowledged by his peers to be a genius.

by Anonymousreply 1206/22/2020

I’m the suspension of disbelief so audiences can accept that a hottie like Kim would ever think Jimmy Stewart was sexy.

by Anonymousreply 1306/22/2020

I’m Pop Liebel, and I can tell you who shot who in the Embarcadero in August 1879.

by Anonymousreply 1406/22/2020

I’m Judy and I’m quite unabashedly trashy. How could someone like me could perfectly act the part of a classy, demure, rich woman? I’m not the brightest - I even kept and wore that extremely guady incriminating front of the person most likely to recognize it.

That said, I DO look fabulous as Madeleine.

by Anonymousreply 1506/22/2020

I’m the nun who pops up in the bell tower. Oops, sorry!

by Anonymousreply 1606/22/2020

I’m the sad, run down McKittrick Hotel. Don’t cry for me: Decades later I will re-open in a fabulous reincarnation on West 27th in NYC. My halls will be filled with that familiar tense and sweeping score.

by Anonymousreply 1706/22/2020

I'm the posy that Madeleine tosses into the Potomac.

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by Anonymousreply 1806/22/2020

I’m Kim Novak’s big feet. She’s always been a bit embarrassed of us. She tries to hide us in scenes whenever possible.

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by Anonymousreply 1906/22/2020

I'm the praise lavished on this overrated Hitchcock film.

Rear Window is much better.

by Anonymousreply 2006/22/2020

I'm Midge's hip, artsy studio in North Beach with a sweeping view of the city, that would probably rent for at least $4500/mo. today.

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by Anonymousreply 2106/22/2020

I'm Scotty's obsession with unavailable women (including undressing them when they're unconscious)...

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by Anonymousreply 2206/22/2020

I'm Vera Miles' impregnated uterus, preventing her from appearing in the film. Sir Alfred is not amused by me.

by Anonymousreply 2306/22/2020

I'm the glaring age gap between Midge and Johnny-O, even though they supposedly went to college together.

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by Anonymousreply 2406/22/2020

I’m a very apt pupil, a very apt pupil.

by Anonymousreply 2506/22/2020

I'm Grace Kelly who would have been cast if I hadn't decided to get married instead and leave the country.

by Anonymousreply 2606/22/2020

^ I wonder how Grace would've handled the trashy Judy Barton role, thoug. I think Kim did a great job as both characters.

by Anonymousreply 2706/22/2020

I'm the non-existent bell tower atop Mission San Juan Bautista that was added with trick photography.

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by Anonymousreply 2806/22/2020

I’m the magically available parking places in front of each and every destination a character drove to. If the movie were not a fantasy, they’d all still be circling the block, looking for me.

by Anonymousreply 2906/22/2020

^ Haha, yes!

In one scene Jimmy Stewart parks in the middle of an alley to follow Kim Novak through the back door of the flower shop, and magically no other cars appear that want to drive through that alley.

by Anonymousreply 3006/22/2020

The Redundant Thread Copycat is on another hypomaniacal tear and needs to be cancelled.


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by Anonymousreply 3106/22/2020

I’m Ellen Corby and I was Hitchcock's first choice to play Norma Bates' mummified mother.

by Anonymousreply 3206/22/2020

I'm James Mason who should have got the starring role as the tormented detective 'Scottie' Ferguson instead of that lame-brained, squeaky-voiced giant rabbit.

by Anonymousreply 3306/22/2020

I'm Midge's portrait

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by Anonymousreply 3406/22/2020

I'm beautiful and sad

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by Anonymousreply 3506/22/2020

I'm all those gay guys who get sucked off on the beach just around from where one of those two Kim Novaks threw herself into the bay.

by Anonymousreply 3606/22/2020

I'm the 'Liebestod' that Bernard Herman (R12) quotes to tell the audience that the hero and heroine are fornicating to the point of orgasm.

*Liebestod = Love death

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by Anonymousreply 3706/22/2020

I'm the scotch whiskey, readily available to offer any guest at home, the office or the club.

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by Anonymousreply 3806/23/2020

I am V.

I am the second most weird letter in the alphabet.

I'm the V for Vertigo. I'm the V in the surname of Marilyn Pauline (Kim) Novak who had the weird, exotic Polish strangeness which was appropriate for the role— instead of the dreary schoolmarmish, sexless V for Vera Miles.

by Anonymousreply 3906/23/2020

I'm the sexual symbolism.

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by Anonymousreply 4006/23/2020

[quote] The Redundant Thread Copycat is on another hypomaniacal tear and needs to be cancelled. F&F! Related Datalounge Thread

Bitch, you need to be strangled and flung off a church bell tower.

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by Anonymousreply 4106/23/2020

I am Mozart! and my symphony no 34 is sweeping all the cobwebs away!

by Anonymousreply 4206/23/2020

^. I'm the Mozart Ignoramus who enjoys his Prague Symphony and the Jupiter Symphony but doesn't know the 34th well enough to recognise it in Herrman's lush score.

by Anonymousreply 4306/23/2020

I'm the single room in the shabby Tenderloin residence hotel, where Judy Barton lives.

Today I probably rent for about $2,000/mo. and am surrounded by homeless drug addicts.

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by Anonymousreply 4406/24/2020

^ I'm the disappointed look on Scotty's face when he sees Judy go inside said hotel.

by Anonymousreply 4506/24/2020

I’m the shabby Empire Hotel, now the lovely Hotel Vertigo, where you can live out your own fantasy in Judy's room.

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by Anonymousreply 4606/24/2020

R43 --what? it is the 34th symphony. r42 is correct

by Anonymousreply 4706/24/2020

Oh, I'm the IMDB page with says the Symphony No. 34 is used as 'cue 10B' in the psychiatric ward.

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by Anonymousreply 4806/24/2020

"with says" --R48

by Anonymousreply 4906/24/2020

The Tristan leitmotif that Hermann quotes is from the Act II love music, not the Liebestod, r37.

Meanwhile, I'm Edith Head being driven to distraction because Kim Novak hates, hates, HATES the gray suit but Hitchcock won't allow it to be changed.

by Anonymousreply 5006/24/2020

Hitch always had to find some way to torture his leading ladies.

by Anonymousreply 5106/24/2020

No wonder Grace Kelly retired to live with the short fat Prince. Anything was better than another shoot with Hitchcock.

by Anonymousreply 5206/24/2020

Grace retired because she was losing her figure.

by Anonymousreply 5306/24/2020

But Grace was never a sex symbol like that slut Marilyn. Grace was a LADY!

by Anonymousreply 5406/24/2020

I'm the Coit Tower, which serves as a not-so-subtle symbol for Scottie's newly found virility after he meets and beds Madeleine.

(The film makes a number of symbolic references to male impotence, and in one way you could say the entire film is about one man's obsession with his own penis.)

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by Anonymousreply 5506/24/2020

Scotty wasn't impotent. He just needed to kill his partner to get off.

by Anonymousreply 5606/24/2020

What didn’t she like the gray suit? It was very flattering. Why wouldn’t a woman want to look that good?

by Anonymousreply 5706/24/2020

Wasn’t Kim rumored to be intersexual?

by Anonymousreply 5806/24/2020

Novak thought the gray suit made her look plain. Which was the point.

by Anonymousreply 5906/24/2020

R59 I thought she looked very chic and glamorous...and sexy. The soft gray brought out the icy silvery shade of her blonde hair. Absolutely gorgeous and classy!

Her Judy clothes were ugly by comparison.

I wonder what costume she wanted??

by Anonymousreply 6006/24/2020

I'm the gentlemanly manner in which John Ferguson undresses Madeline and tucks her into his bed while she's pretending to be passed out, then goes into his tasteful bachelor living room to enjoy a glass of scotch by the fire while waiting for her to wake up and watching her clothes dry.

by Anonymousreply 6106/24/2020

I'm Harvey the Giant Rabbit.

I said to Jimmy Stewart that he belonged in comedy. I told him his high-pitched voice and lack of gravitas rendered him hopeless in dramatic films.

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by Anonymousreply 6206/24/2020

I'm a certain shade of blonde that reminds you of HER.

by Anonymousreply 6306/25/2020

I’m the Elizabeth Arden cosmetologist eyeing Scottie with derision. "We know what you want, sir..."

by Anonymousreply 6406/25/2020

I’m the Salvatore Dali dream sequence. Which is interesting but not that effective.

by Anonymousreply 6506/25/2020

I love these.

by Anonymousreply 6606/25/2020

I'm Salina, Kansas, where Judy Barton comes from.

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by Anonymousreply 6706/25/2020

I’m the big reveal scene 30 minutes before the end of the movie where the audience learns of Judy’s trick. The studio convinced Hitchcock to take out the scene, but only days before release, it’s believed his wife Alma told him the film needed it and the scene was reinserted (though it is lower quality image wise).

by Anonymousreply 6806/25/2020

I’m the person who gets confused by plots and who's forgotten the big reveal scene.

by Anonymousreply 6906/25/2020

I'm the blasé viewer who's seen this movie too many times on TV but could really only appreciate its swirling weirdness on the big screen last year at my city's art museum.

by Anonymousreply 7006/25/2020

I'm Midge's self-admonishment when Johnny-O doesn't find her Carlotta portrait amusing.

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by Anonymousreply 7106/26/2020

Midge was a catch - Johnny was stupid.

by Anonymousreply 7206/26/2020

I’m Judy’s chola brows.

by Anonymousreply 7306/26/2020

I'm Madeline - you never saw me. Really, you didn't - I was just a a 2 second blur.

by Anonymousreply 7406/26/2020

[quote] Midge was a catch - Johnny was stupid.

She was educated and witty, creative, knew lots of interesting people, and worst of all, had a career and was independent. None of that is very attractive to a man.

by Anonymousreply 7506/26/2020

I'm Midge wearing glasses because Sex-kitten Kim didn't want competition.

by Anonymousreply 7606/26/2020

Midge was a real person, and smart, warm and plain.

“Madeleine” was a gorgeous unknowable cipher. Of course he’d be obsessed.

by Anonymousreply 7706/27/2020

Stewart was basically playing Hitchcock in this film. Novak was playing all the beautiful actresses that Hitch was obsessed with over the years. And Midge was a stand-in for poor Alma Hitchcock.

by Anonymousreply 7806/27/2020

I'm the hideous green outfit that Judy wears when Scotty sees her for the first time. A Datalounger saw me in person at the Hollywood Costume Exhibit a couple of years ago, and was astonished to find that it looked even worse in person! The sweater, skirt, belt, and shirt are all green, but clashing shades of green.

I add yet another layer of WTF surrealistic mystery to the story, because my presence indicates that a woman who works at one of the Bay Area's more upscale clothing stores, and who spent months being carefully dressed in the most exquisite couture by my married lover, still knows shit nothing about clothes.

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by Anonymousreply 7906/27/2020

I'm Brian De Palma, carefully splicing the plot together with that of Rear Window to make the gloriously trashy Body Double, 26 years later.

by Anonymousreply 8006/27/2020

I'm Agnes Moorehead and Carlotta Valdes looks a lot like me in the dream sequence...

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by Anonymousreply 8106/27/2020

[quote]a woman who works at one of the Bay Area's more upscale clothing stores, and who spent months being carefully dressed in the most exquisite couture by my married lover, still knows shit nothing about clothes.

R79 More, please.

by Anonymousreply 8206/27/2020

More what, R82?

Judy mentions she "... works at Magnin's" (sorry, not Bullock's), which FYI was an extremely upscale department store, a more tasteful precursor to Nieman Marcus. A wealthy friend dragged me there a few time during the late seventies and eighties, and I remember racks of blouses that cost several hundred dollars each in seventies and eighties dollars, and exquisitely dressed salesladies. The place is gone now, or places as there were at least two, its market was taken over by Nordstroms and Needless Markup some years ago.

If a badly dressed, low-rent, ho like Judy Barton worked there, either she was fucking the manager, or she was working the cash register at the employee cafeteria. She sure as hell wasn't a saleswoman, not with a look like that.

by Anonymousreply 8306/27/2020

That’s correct, sir at R83. Nor would we at Ransohoff's ever appear in public dressed like this common trailer park trash.

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by Anonymousreply 8406/27/2020

R83 I guess they had to make her look "cheap" but nothing about Judy Barton from Salina Kansas who isn't too bright makes sense, as R15 correctly pointed out. She should have been been played as a shrewd and talented grifter with a chic Beat look, like this image of Joan Collins in 1955. On second thought, Collins would have been great in this role.

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by Anonymousreply 8506/27/2020

I'm the garish beauty mark Judy pencils on the side of her face when she's a brunette.

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by Anonymousreply 8606/27/2020

I'm Judy's Groucho Marxian eyebrows.

by Anonymousreply 8706/27/2020

I'm Cary Grant, who Hitchcock said he wished he'd cast instead of Jimmy Stewart. Hitch thought Stewart appeared too old in the movie and blamed him for the poor reviews and mediocre box office the film received.

Looking back, it's amazing many critics were hostile toward every damn Hitchcock film of the era. Jealousy.

by Anonymousreply 8806/27/2020

Kim Novak was borderline fat in this movie. Barbara Bel Geddes was actually thinner than her.

by Anonymousreply 8906/27/2020

R88 maybe they were critical because they saw what modern audiences see now- cheesy, boring movies with garish makeup and creepy old man/young woman fantasies

by Anonymousreply 9006/27/2020

I’m my favorite line in the picture. When Stewart asks Bel Geddes, “How’s your love life, Midge?”

And she responds, “Oh, it’s following a train of thought.”

I’ve used that one more than once...

by Anonymousreply 9106/27/2020

Scotty's projection of his own inability to let go of the past...

"You shouldn't keep souvenirs of a killing. You shouldn't have been that sentimental."

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by Anonymousreply 9206/27/2020

**I'm Scotty's... (keeping the convention of being the thing)

by Anonymousreply 9306/27/2020

I'm old IMDB user, who had to explain at least once a year to the "Vertigo" board that no, Scotty wasn't driving on the wrong side of the road when he drove Madeline to San Juan Bautista, he was driving in the fast lane of a four-lane highway that had a thick, forested divider between the northbound and southbound lanes.

And that that particular stretch of highway doesn't actually lead to San Juan Bautista, it's not far away, but heads west from there to Castroville and Monterey. And that I have no idea why the fuck Hitchcock used that bit of hghway.

by Anonymousreply 9406/27/2020

I'm another IMDB contributor, R94, who's finding them to be capricious and unhelpful lately.

They're punctilious on some things but sloppy on others (such as the Trivia section in the 'Bios' which are repetitive, undocumented and not in chronological order.

by Anonymousreply 9506/28/2020

I'm the de Young museum, conveniently empty except for Scotty and Madeline, and Madeline STILL doesn't notice he's been following and watching her all day (of course, the audience doesn't know yet that Madeline is an imposter and KNOWS Scotty is following her).

by Anonymousreply 9606/28/2020

I’m Madeleine’s coat and I’m absolutely stunning and fabulous!

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by Anonymousreply 9706/28/2020

I am Gavin Elster, suave and debonair, and I am scripting the entire plot.

by Anonymousreply 9806/28/2020

I am common sense, asking Gavin why he didn't kill Judy.

by Anonymousreply 9906/28/2020

I'm all the San Francisco filming locations, then and now.

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by Anonymousreply 10006/28/2020

Great video R100!

by Anonymousreply 10106/28/2020

I'm the cross-section of the giant sequoia Madeline/Judy directly addresses.

by Anonymousreply 10206/28/2020

I’m Judy when I recognize Scottie as I'm walking down the street with my friends. Notice how my foot hesitates for the briefest instant as I step over the curb, betraying my shock. Then see how I contrive to stop and talk with her friends for a moment, so Scottie can get a good look at me.

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by Anonymousreply 10306/28/2020

I'm the feeling of vague horror everyone gets when they see the movie for the first time and Scotty sees in his dream the real Carlota Valdes turning her head to look up at him as eerie castanets click and the lights flash orange.

by Anonymousreply 10406/28/2020

I'm the the posy both Madelline and Elstir carry, and the swirling curl in both their hairdos.

Like the spinning Spirographs in the Saul Bass credits, we all represent the hypnotic quality of vaginas and narrative plots!

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by Anonymousreply 10506/28/2020

*Sorry, that should be "I'm the the posy both Madeline and Carlota carry,"!

by Anonymousreply 10606/28/2020

I'm the hard fact viewers must allow by the end of the movie that Gavin Elstir got away with a very cruel murder (especially since Hitchcock always said that to his mind Scottie jumped off the tower to follow Judy a second after the film ended).

by Anonymousreply 10706/28/2020

I'm the San Francisco florist's shop that for some reason puts a posy in its shop window every day designed to look exactly like one in a nineteenth-century portrait at the Palace of Fine Arts.

by Anonymousreply 10806/28/2020

I'm Henry Jones, gratuitously humiliating Scottie at the inquest and making him feel even more emasculated.

by Anonymousreply 10906/28/2020

I'm the basis detective work Scotty failed to do about Madeline Elster (and Gavin for that matter) before beginning the surveillance of her.

by Anonymousreply 11006/28/2020

[quote] Gavin Elstir got away with a very cruel murder (especially since Hitchcock always said that to his mind Scottie jumped off the tower to follow Judy a second after the film ended).

I’m the alternate ending that reassures viewers the law will catch up with Elster and Scottie and Midge will be forever stuck with each other.

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by Anonymousreply 11106/28/2020

No one likes you R111

by Anonymousreply 11206/29/2020

There is no direct evidence that the alternate ending, which was shot to assuage any disturbed censor boards, was ever used. But the running time of the film submitted to to the British censor board is two minutes longer than the the US release, which has led some film historians to suggest the film was submitted to them with it. The alternate ending was found tucked away and forgotten in a film vault when Robert Harris and James Katz restored the film in the 1990s and began searching for the best film elements they could find.

by Anonymousreply 11306/29/2020

I am Kim Novak’s undescended testicle.

by Anonymousreply 11406/29/2020

I'm another "then and now" video of San Francisco filming locations in Vertigo with the locations labeled and more time to examine the changed landscapes.

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by Anonymousreply 11506/29/2020

R115, that was excellent.

by Anonymousreply 11606/29/2020

That was good, R115, but I preferred R100.

I thought R100 was interesting because the close-ups of Old Man Stewart made me think he's wearing the same soft orange pancake make-up as the current US president.

But MORE interesting is the extended use of Hermann's brilliantly hypnotic, sinuous music. I wish I was more knowledgeable about music so I could definitely say that Hermann has influenced Pedro Almodovar's soundtracks.

by Anonymousreply 11706/29/2020

R117 You have a good ear. The film scores of Amaldovar's award-winning composer, Alberto Iglesias, have often been called "Herrmann-esque."

by Anonymousreply 11806/30/2020

A mini-doco on Hitchcock's maestro...

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by Anonymousreply 11906/30/2020

I am 'Dean Flynn'

I have a slight resemblance to the old guy in 'Vertigo'. A similar physique but a better penis.

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by Anonymousreply 12006/30/2020

I’m Tommy Helmore. And don’t confuse me with Tom Conway!

I played in one homosexual film years ago and appeared in another Hitchcock film when I was almost as pretty as gorgeous Michael Redgrave—and Hitchcock gave a starring role to him!

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by Anonymousreply 12107/01/2020

I feel like Judy’s look is perfect. The garish makeup, the firm fitting sweater dress that says “notice me, please” like a modern day instaho. She is low rent and face it, just a shopgirl at I Magnin. She lives in a hotel/boarding house.

Joan Collins would have been all wrong for the part. Kim evokes sympathy, she’s not really a shrew or grifter. I love Kim in the role.

by Anonymousreply 12207/01/2020

[quote]Kim evokes sympathy

Kim's 'Judy' also evokes plot holes you could drive a truck through, but that's on Hitch.

by Anonymousreply 12307/01/2020

Some say the plot holes are sort of intentional since the whole movie plays out like a dream...

by Anonymousreply 12407/01/2020

"Joan Collins would have been all wrong for the part."

Novak really puts over Judy's complete lack of self-esteem, something Joan Collins never brought to a role in her life.

If Collins had taken the role, we'd spend the whole movie waiting for her to get her revenge on Stewart AND Elster, or to reveal that she was the mastermind of the fiendish plot. But not Novak, she lets herself be used and abused by two men, and that there was nothing but using and abusing from a lot of men before she met either of them. That's why we don't hate her, even though some of her actions are despicable, she's really just a complete loser. And that's not something most glamour actresses could play, even if they wanted to.

by Anonymousreply 12507/02/2020

I'm the alternative ending that should have been shot. It goes something like this.

JUDY and SCOTTIE kiss. JUDY turns to see a shadow the bell tower. JUDY: No! No! NUN: I heard voices... JUDY screams and falls from the bell tower. SCOTTIE looks on, stunned. NUN: God have mercy! Not another one! Can you believe this is the second time this year?! Hey, wait ... aren't you the same guy who was here last time this happened? END

by Anonymousreply 12607/02/2020

I'm the nuns who appear in so many Hitchcock films.

by Anonymousreply 12707/02/2020

I'm Jimmy Stewart's stammering, blustering bravado as he ventures to stand on Midge's little bar stool.

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by Anonymousreply 12807/02/2020

I'm the unanswered mystery of how Scotty was rescued or escaped from hanging off the side of a building, after the other cop went tumbling to his death.

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by Anonymousreply 12907/02/2020

I'm Scotty's mysterious "independent means"!

by Anonymousreply 13007/02/2020

[quote]I'm the unanswered mystery of how Scotty was rescued or escaped from hanging off the side of a building, after the other cop went tumbling to his death.

Was he rescued? Maybe he he couldn't hang on, fell, went into a permanent coma and the rest of the film is the dream he can't awaken from.

by Anonymousreply 13107/03/2020

Why is there a flimsy rain gutter at the top of a four story building?

by Anonymousreply 13207/03/2020

I'm some other problems with the rooftop scene...

In the opening rooftop chase scene the crook, officer and Scottie jump across buildings that appear to be no more than six feet apart, yet when the officer falls to the ground it appears the buildings are a full alley width apart.

When Scottie slides off the roof and hangs onto the rain gutter, the tiling changes from flat wooden tiling in the medium shots to half-cylindrical brick tiling in the close-up shots as the officer attempts to rescue him.

Before and after Scottie slides off the roof, there are two views of him shown 90 degrees apart, but in both cases the background view remains the same.

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by Anonymousreply 13307/03/2020

I'm Pop Liebel, an authority on the small stuff of San Francisco history, like people you never heard of in the gay old bohemian days of gay old San Francisco...

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by Anonymousreply 13407/04/2020

I am the very highly perverse, yet highly lush, dream that is Hitchcock's Vertigo.

by Anonymousreply 13507/04/2020

Novak and Stewart are better in Bell, Book & Candle.

by Anonymousreply 13607/04/2020

BB&C is another allegory. Although gay author John van Druten denied it, is so obviously an allegory about gay people living in Greenwich Village in the late 1950s.

by Anonymousreply 13707/04/2020

I'm William Hitchcock who asked the local copper to take Alfred and put him in the lock-up in 1905.

He was there for five hours and it scarred him for life.

by Anonymousreply 13807/04/2020

I'm the sleazy Hitch-thief

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by Anonymousreply 13907/04/2020

The subtext in BB&C is too huge to be denied.

by Anonymousreply 14007/04/2020

Did you know that the Zodiac Club in BB&C is a stand-in for a gay club?

by Anonymousreply 14107/04/2020

I'm the dummy who can't understand R137's use of the word 'another' in 'another allegory'.

I might see an incidental allusion in 'Bell, Book etc' but where's the allegory in Hitchcock's 'Vertigo'?

by Anonymousreply 14207/04/2020

If there's an allegory in "Vertigo", it's about Hitchcock's personal history of making flawed real women into his ultra-glam "Hitchcock Blondes".

I'm aware that there's subtext along those lines in "Vertigo", but I've never wanted to think about it too much as it might spoil my enjoyment of the movie.

by Anonymousreply 143Last Sunday at 7:35 AM

I'm the uncredited Paramount second-unit cameraman Irmin Roberts who invented the famous "zoom out and track in" shot (now sometimes called "dolly zoom," "contra-zoom" or "trombone shot") to convey the sense of vertigo to the audience. The view down the mission stairwell cost $19,000 for just a couple of seconds of screen time.

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by Anonymousreply 144Last Sunday at 1:24 PM

I'm the fastidious William Wyler.

That zooming, R144, may be permissible in 'Vertigo' which is all about obsessive madness but MUST be avoided in normal cinematic plays about normal people.

Luchino Visconti also used this cheap zooming technique and, I have to say, it is a sloppy, distracting method allowing the camera to intrude in on the characters telling their story.

by Anonymousreply 145Last Sunday at 8:22 PM

What was the reason for bathing Judy in a green light? What did the color green represent?

by Anonymousreply 146Last Sunday at 8:25 PM

I'm Green and I'm the symbol for Envy.

by Anonymousreply 147Last Sunday at 8:28 PM

I'm the snob who'd disinterested in seeing Steve McQueen in 'Bullit'.

I want to know if the long car San Francisco car sequences in 'Vertigo' influenced McQueen ten years later.

by Anonymousreply 148Last Sunday at 8:41 PM

R146 I'm Roger Ebert's review of Vertigo where I talk a lot about the color green...

[quote]But the thing I remember most about "Vertigo," the thing that imprinted itself indelibly on my brain, was something simple and powerful: the color green. Say "Vertigo" and I see green. For the color green is associated with Scottie Ferguson’s vertigo and, especially, its underlying cause: the dizzying fear of falling, and of falling precipitously, deliriously in love. In this manner Madeleine, and the color green, are introduced into Vertigo, and Scottie’s subconscious.

[quote]And so, green is associated with Madeleine, and with the romantic environs of San Francisco. Madeleine's car, which Scottie so obsessively tails, is green (and there's a spendid moment of disconcerting, schizophrenic foreshadowing when Scottie spies two identical green cars rounding a curve; we'll later be left wondering just how/where/if the paths of Madeleine and her look-alike Judy have diverged). And there's the green expanse of lawn in front of the Palace of the Legion of Honor art gallery, where she goes to sit in front of the portrait of Carlotta, the greenery of the florist's shop and its vibrant green boxes (also associated, in Scottie's thrillingly up-close surveillance of Madeleine, with her image in a mirror), the garden/graveyard where he follows her, and the deep green-blue waters of San Francisco Bay into which she plunges.

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by Anonymousreply 149Last Sunday at 8:50 PM

"What did the color green represent? "

I've heard some film geeks say that in Hitchcock films, and particularly in "Vertigo", the color green represents danger.

The heroine of "The Birds" wore a green suit for nearly the whole film, so maybe the theory held true for several films, although in "The Birds" it indicated a person who was in danger, rather than someone who was dangerous.

by Anonymousreply 150Last Sunday at 9:02 PM

Judy's being bathed in green is supposedly the neon lights from across the street shining into the hotel room. But Hitch had the effect overdone. Plus, when the film was restored, that was one of the few moments were the original film negative was unusable and the best film element they could find was like 14 generations removed from the OCN so it looks really bad.

by Anonymousreply 151Last Monday at 4:45 AM

^ OCN = original camera negative

by Anonymousreply 152Last Monday at 4:54 AM

The green light was make her look ghostly, I thought. I think someone mentioned it up thread. Green lighting was used in the theatre to signify a ghost. And she is a ghost to Scotty.

by Anonymousreply 153Last Monday at 6:22 AM

In articles about Vertigo, they say Hitchcock deliberately used color to tell a story in his pictures, never more so than in Vertigo. He was insistent on the grey suit that Novak hated.

by Anonymousreply 154Last Monday at 9:48 AM
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