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Buy Vertigo 1958 Movie Online 1080p, 720p, BRrip and MOV
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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A masterpiece of torpor
It staggers credulity to read that this dull, plodding film with its embarrassingly silly plot has now been rated as the greatest movie of all time. I have watched it three times: in the early 60s when it was first released in the UK, again some 10 years ago and once again last night. Nothing has changed. Vertigo doesn't merit high rating even among Hitchcock's prolific output; to elevate it to all-time supreme status is an unspeakable act of self pomposity from the critics concerned.

A film like Vertigo depends almost entirely on raising the viewer's interest in its characters. Disappointing, then, that its two principals play their roles as if they're half-asleep on drugs. James Stewart has many times played with success the seemingly slow-witted, slow moving character who's aware of a lot more than it appears. In Vertigo this Stewart stock persona is inappropriate. One wonders if they first shot the scene where he's mute, staring and unresponding in the hospital and he decided to continue in this mode but mouthing the script lines as they came along.

How anyone could begin to fall in love with such a frigid, boring personality as played by Kim Novak is beyond comprehension. She is consistently out-performed by trees, buildings and props throughout the piece. Far from conveying an intriguing, sexually arresting character, she leaves the viewer marvelling that nobody thought to save budget by substituting a tailor's mannequin.

Had Vertigo been directed by anyone without Hitchcock's reputation (one that's deserved but which, most unusually, seems to encourage enthusiasts to believe he never makes a clunker) it would have been written off as poor stuff — indeed it was correctly regarded as mediocre when it first came out. It isn't a bad film, in the sense of godawful, laughably inept. It's just so far from good that people with normally functioning eyes and ears will shrug and say "ho-hum!"
Not sure why this is so highly regarded
I don't see why this is regarded so highly. Do people feel obliged to love Alfred Hitchcock movies? Psycho, Rear Window and Rebecca were masterpieces but Vertigo is not in their league, not even close.

I personally found Vertigo long-winded and ultimately quite boring. Hitchcock takes forever to set the scene, then having set it, instead of ramping up the pace, continues to drag out the story.

Many of the key turning points and pieces of the plot seemed contrived and implausible.

Good performances by James Stewart, Kim Novak and Barbara Bel Geddes though.
Hitchcock was on a roll during that period. Vertigo is one of his most celebrated films, even though it's modeled after Rebecca in that it's 3 films rolled into one: a love story, a metaphysical thriller, and a suspense drama. Nevertheless, the difference between the Hitchcock of 1940 and the Hitchcock of 1958 is vast. The Hitchcock of Vertigo is a much more elaborate director, that dwells on the human psyche to fill the canvas. The human psyche is the protagonist, the suspense is just the background, or even a detail. Vertigo is a major work and an essay on neurosis and repressed desire.

The plot: John Ferguson is a retired detective suffering from acrophobia. A rich old friend (Gavin Elster) hires him to investigate the activities of his wife (Madeleine), who he believes is being possessed by the spirit of a dead ancestor (Carlotta Valdes). After seeing Madeleine, Ferguson agrees. Later on, we see that Madeleine half-lives in Carlotta Valdes' house, spends a lot of time in front of a Carlotta painting in a museum, and generally models her behaviour after Carlotta. Also, Madeleine suffers from blackouts, during which she isn't in control of herself. Ferguson forms a relationship with her. He then pressures her to get rid of the past by dwelling on it, visiting places where Carlotta lived etc. During such a visit, and in the same day Carlotta died, Madeleine commits suicide by falling from the bell-tower of a chapel. Ferguson is unable to rescue her due to his acrophobia.

Following this, Ferguson is placed in a mental hospital, suffering from catatonic depression. After some time, we find Ferguson released from the mental institution and in better shape. He then meets a woman who looks a lot like Madeleine. Nevertheless, the woman, Judy Barton, seems less perfect and more vulgar than Madeleine. Ferguson forms a relationship with her, and is trying to model her after Madeleine, buying her the same clothes etc. But during one of their encounters, the truth is revealed due to Barton's carelessness. She used the same jewelry as Madeleine. Barton and Madeleine is the same woman. In truth, Madeleine/ Barton was a "doppelganger" to Elster's wife. Elster hired her in order to kill his rich wife, and manipulated Ferguson's illness so that he was a witness to the "suicide". It was the wife, and not Madeleine that fell from the tower.

Unaware that Ferguson knows the truth, Barton continues the relationship and the "transformation" to Madeleine. She now is in love with Ferguson, but Ferguson is intent on freeing himself from his acrophobia. As Barton is completely transformed to Madeleine, Ferguson takes her to the same chapel and to the bell tower. Forcing her up, she confesses the truth. She claims she is in love with him. She then sees a shadow emerging, panics and falls into the void. It turns out that the shadow was just a nun. Ferguson stands and watches from above. He is cured.


This is not an easy film to analyze. It is very dense and has lots of hidden meaning beneath the surface. The most obvious theme is the one of fixation and impotence. Ferguson suffers from vertigo; Madeleine seems to be possessed by a dead spirit; Ferguson's friend Midge is in love with him but unable to express her love and conquer him; then when Madeleine dies Ferguson becomes obsessed with her.

Madeleine represents the ideal love, perfection.

In the meantime, there are some other interesting ideas floating in the background. One is that in the second half of the film we witness a reverse situation than that of the first half. In the first half, Elster and Madeleine manipulate Ferguson's impotence. In the second half, it is Ferguson that manipulates the less-than-perfect version of Madeleine (aka Barton), even though she regrets her accomplice and is genuinely in love with him.

The ending, as well as the first half, is shrouded in the metaphysical and supernatural. The shadow that Madeleine/ Barton sees could be anything: a ghost, her guilt, Elster, the dark side of her relationship with Ferguson etc. Ferguson models Barton after Madeleine with almost necrophiliac obsession. Just before the second time that Madeleine "dies", she and Ferguson kiss, representing the ephemeral happiness in vain. After she dies, Ferguson is freed from his impotence, but we don't know his feelings, we just see him watching from above. Basically Ferguson is haunted by his search for perfection (an ideal love, a god to believe in?). There is a clear parallel between that and his impotence (the vertigo). When he tries to transform the down-to-earth Barton to the perfect Madeleine, the illusion isn't working. In order to cure himself from the impotence, he kills her (he was the one that dragged her to the chapel).

Moreover, what the film seems to project is the vortex of the human psyche. Both in the first and the second half, the conclusion is the same: the woman dies. It's the behaviour of the male protagonist alters dramatically. In the supernatural first half, the protagonist is crippled, while in the down-to-earth second half, he is more free but also less happy.

The real moment Ferguson is freed is when he realizes the truth about Madeleine. Madeleine/ Barton is sitting in front of a mirror (representing the dual personality). Then Ferguson sees the jewel and immediately thinks of the portrait of Carlotta Valdes (a symbolism of the original sin? He and Madeleine had an adulterous affair after all). Vertigo projects the male-female relationship into the conflict between the human and the ideal (the supernatural, the belief in the perfect). But there is no way out. Both stories (the first and second half) are two sides of the same coin.
You're not lost. Mother's here.
John "Scottie" Ferguson is a San Francisco cop who decides to quit the service after his acrophobia results in him being unable to save the life of a colleague. Whilst taking it easy he gets a call from an old school friend, Gavin Elster, asking him if he wouldn't mind doing a little bit of detective work for him. The job is simply to tail his wife because she's obsessed with an ancestress who committed suicide, and the wife, Madeline, is showing signs of herself being suicidal. Ferguson tails her diligently and as the tail progresses, Ferguson himself starts to become ever obsessed about the demur blonde Madeline. As the story twists and turns, Ferguson's obsession will have far reaching consequences for both parties...

Vertigo is Alfred Hitchcock's most discussed, dissected and critically reappraised film, based on a novel by Pierre Boileau called D'Entre Les Morts, (also writer of Diabolique), Vertigo was not well liked on its release and unable to be viewed for some time due to copyright, the film was restored from a destroyed negative into a glorious 70mm print, and now in all its glory it can be seen as one of the greatest films to have ever been made. What is most striking about Vertigo, outside of Hitchcock baring his innermost that is, is that its plot on the surface is simplicity personified, but delving deeper, and repeat viewings are a necessity, its apparent that Vertigo is a chilling force of cinema, taking great delight in gnawing away at your perceptions, perhaps even your own capabilities as a human being.

Very much a film of two great halves, Vertigo first seems intent on being an almost ghost story like mystery. Once the prologue has introduced us to Ferguson's fear of heights, we then enter an almost dream like sequence of events as Ferguson tails the troubled Madeline, the suggestion of reincarnation bleakly leading to death hangs heavy as Hitchcock pulls his atmospheric strings. Then the film shifts into dark territory as obsessions and nods to Dante's Inferno and feverish dreams take control, Hitchcock, as we have come to learn over the years, lays out his soul for us the audience to partake in, the uneasy traits sitting side by side with fascination of the story. All of which is leading us to a spine tingling finale that is as hauntingly memorable as it is shocking, the end to our own dizzying journey that Alfred and his team have taken us on.

Technically the film is magnificent, the opening credits from Saul Bass brilliantly prep us for what is about to unfold, while Bernard Herrmann's score is as good as anything he ever did, unnerving one minute, swirlingly romantic the next, a truly incredible score. Hitchcock himself is firing from the top draw, introducing us to the brilliant zoom-forward-track-back camera technique to induce the feeling of Vertigo itself, with that merely a component of two hours of gorgeous texture lined with disturbing little peccadilloes. The two leads are arguably doing their respective career best work, James Stewart as Scottie Ferguson goes real deep to play it out with an edgy believability that decries his aw-shucks trademark of years since past. Kim Novak as Madeline is perhaps the quintessential Hitchcock blonde, perfect with the duality aspects of the role and playing off Stewart's ever creepy descent with seamlessly adroit skill. It however should be noted that Hitchcock and his loyal subjects had to work hard to get Novak right for the role, but the result proves that Novak had ability that sadly wasn't harnessed on too many other occasions.

Vertigo is a film that I myself wasn't too taken with on my first viewing, it's only during revisits that the piece has come to grab me by the soul and refuse to let go, it not only holds up on revisits, it also gets better with each subsequent viewing, it is simply a film that demands to be seen as many times as possible. Not only one of the greatest American films ever made, one of the greatest films ever made...period, so invest your soul in it, just the way that Hitchcock himself so clearly did. 10/10
A fall from grace...

I don't think that I have made an effort to like or, at least, respect any movie more than I have Alfred Hitchcock's VERTIGO. I have seen it maybe half a dozen times on the big and small screens, read reviews and analyses of it, as well as essays about it in a couple of Hitchcock biographies. I recognize just how it fits into Hitchcock's filmography and how it details his notorious obsessions. It is an important film as far as the study of Hitchcock is concerned. But, in the end, VERTIGO is just not a very good movie. I don't see why it is considered to be one of the greatest films of all time; indeed, I wouldn't even place it in Hitchcock's top twenty. Instead of appreciating it more each time I view it, I find myself resenting the way it distracts from Hitchcock's better efforts.

The premise -- basically a variation of "Frankenstein" by way of a dark and brooding "My Fair Lady" -- involves a man's attempt to reshape a woman into the image of a woman he thought he loved and lost, not realizing they are the same woman. The concept is intriguing in theory, but largely unbelievable in execution.

The film is told in two halves, the first being a detective story. It involves the type of ludicrously contrived murder scheme that only works in old self-mocking whodunits ("'You see,' explained Nick to Nora, in between sips of his martini, 'Gavin had to use Scottie as his patsy, because a man who was not deathly afraid of heights might have climbed to the top of the bell tower and discovered....'") You get the idea. Almost like a trial run for the far superior PSYCHO, Hitchcock concocts a convoluted thriller storyline which ultimately only serves as a set up for the psychological drama in the second half. This may be the only aspect of the film that shows Hitchcock's genius: using a far-fetched mystery narrative as a way of luring the viewer into the murkier melodrama that is the real center of the story. But, it seems Hitchcock was so fascinated in elements of the latter part of the story that he wasn't concerned with the plot holes and dubious logic that make the first half largely unbelievable. And, unfortunately, part two is hopelessly entangled in the clumsy web spun in part one.

It is part two of the story that also fascinates the film's admirers (who tend to ignore or forgive the sloppy set up of part one). Having established that James Stewart as Scottie, has fallen in love with Kim Novak's Madeline, only to see her apparently commit suicide, the film introduces Judy, also Novak, who is a dead ringer for Madeline. On meeting Judy, one would think that a trained detective like Scottie would immediately be suspicious and begin to investigate her past, instead he starts playing Henry Higgins and begins training Judy to again look and act like "Madeline." Judy, who should realize that Scottie can implicate her in a murder, plays along, presumably because she has fallen madly in love with Scottie. But basically, no one does anything logical in this film, everybody being hopeless enslaved by the rather silly plot, rather than by obsessive love or psychological turmoil. The film just doesn't stand up to close scrutiny, either dramatically or psychologically.

Okay, films, especially Hitchcock's, are less about plot than style. But even so, the film is substandard, especially for a Hitchcock film. There are a few clever shots and striking images, but that is overshadowed by slow pacing, a very hokey dream sequence and stilted dialogue. And there are some odd choices involving the use of color that prove particularly annoying. At first, I thought the muddy, muted look of the film was the result of badly aged prints, but seeing the restored version proves this not to be the case. And for some reason, Jimmy Stewart's face seems bright orange in every print of the film I have seen. The look of the film is so annoying, that the last time I watched it, I turned the color off on my TV set. The film actually plays better in black and white, reflecting its pulp film noir elements.

It seems that the reason the film's reputation has skyrocketed over the years has less to do with Hitchcock's skill at making it, than that VERTIGO represents a convenient checklist of all his phobias, fetishes and obsessive visions. Those who have laboriously defended the film seem to skim over the gaping holes in its logic, dwelling on the film's paper-thin psychology: The film's protagonist Scottie representing Hitchcock and his not-so healthy desire to control and abuse women of a certain type. Okay, maybe that is so. But a psychological profile is not necessarily the same as a work of art -- or even passable entertainment. Hitchcock may -- or may not -- be revealing his psyche more in this film than in any other he ever made, which makes it Jim-dandy for discussion of his entire career, but that doesn't mean VERTIGO stands up on its own.

Rather than representing the epitome of what the name Hitchcock stands for, VERTIGO should represent some sort of embarrassment. The story is poorly plotted and poorly told. Novak and Barabra Bel Geddes give solid performances, but Stewart is just terrible in the central role; it just may be is worst screen performance. And Hitchcock's stylistic touches seem self-consciously obvious, detracting form the drama rather than underscoring it. But, as a dress rehearsal for what he would soon accomplish, VERTIGO works decently enough. The red herring first act, the unexpected death of the leading lady, the psychologically scarred protagonist with necrophilic leanings (played by an actor with an established boy-next-door image), the denial of a one woman's death by creating the illusion she exists in another person's body; these are all elements that would rise again in PSYCHO, Hitchcock's true masterpiece. PSYCHO realizes the vision that VERTIGO only promises.
You can't get to the bottom of it
Jimmy Stewart transcends his form of Rear Window here, and needs to. Vertigo is an elusive love story and the character of Scotty shuttles more actively, yet more subtly between the gravitation of his desire for Kim Novak's Madeleine and the peaceful stasis of his retirement. The chief conspirator in the mystery and power of the film is the music. Bernard Hermann's score is a paradigm of the filmscore rendered in post-Tristan hoch-romanticism, rich in both power AND nuance. Where the simplest passages of expositional action would require a low profile underscore the music has an agenda already looking ahead to the power and vertiginous confusion of the film's intent. Watch the flower shop sequence again; it's got it all, visual dialogue, cunning use of foreshortened shots and mirrors and overwhelming colour both visually and sonically. And in a relatively minor sequence.

So Hitchcock is employing all his favourite devices and to great effect. Symbolism is no passenger either. The symbol that is impossible to miss throughout is that of colour. A 1996 analytic essay (by Jim Emerson, available online) outlines these in great detail, from the greens of passion and reds of warning to the subsiduary colours for guilt (blue/grey) and peace or comfort (yellow/beige). I was reminded of British colourist Howard Hodgkin's canvas Lovers (1992), an Apollonian/Dionysian tsunami of red and green as iridescent as the Technicolour tints and filters used in the film.

So the film is about the doppelganger tension inside a character - the wrenching of his alternates. Should Scotty abandon his rocking chair and sunset retirement in search of not only Madeleine but whatever it is that makes him pursue her (a sort of meta-lust)? When he does, which we all want him to do, will he be able to bring it back around and make sense of it all for us? Well, just when we think he has, Hitchcock blows the cosy moral cadence apart again. The film is as daring in its ending as in its conception and execution and is surely a touchstone of great cinema - great art - as a result. 9/10
Stewert and Novak, - Heavenly Pair
This movie is - simply put a masterpiece. Not too many movies can envelop the watcher in a dizzying array of emotions the way Vertigo can. Loss and obsession, peppered with stretches of unrestrained bliss come to mind. But aside from the carefully woven plot line, its the little nuances of this film that really grab hold of you.

There is much debate between this film and Rear window as to which film is visually superior. What makes rear window stunning is the camera work and the set of course. But rear window is confined to a single set, and makes the possibilities limited. Which leads to my point. Vertigo's cinematography is beautiful enough to entice even the most icy of viewers. This film invokes more emotion than any other film I've seen before - and this cannot be attributed entirely to the plot line, but the visual style with which it was filmed. From the sweeping camera over San Francisco, to Kim Novak's face against the red plush background of Ernie's interior, to the overhead shot of the stairs and hallway in the hotel, to the ethereal shot of the Golden Gate bridge, the placements and angles of the camera are flawless. Obviously Hitchcocks visions came alive in this one.
A Masterpiece of Obsession
While pursuing a criminal on the roofs of the buildings in San Francisco, Detective John "Scottie" Ferguson (James Stewart) has a severe trauma when his partner falls off the roof trying to save him. He suffers from acrofobia and is retired from the police force, since his fear of heights provokes vertigo on him. He is contacted by the former mate from college Gavin Elster (Tom Helmore), who runs the shipyard of his wife Madeleine Elster (Kim Novak), and Gavin asks him to follow his wife. Gavin explains that she has an odd behavior and seems to be possessed by the spirit of Carlotta Valdes, having blanks of memory every now and then and presenting suicidal tendencies. The skeptical Scottie follows the beautiful blonde on the next morning: she buys some flowers and is drawn to places from the past related to Carlotta Valdes, visiting her grave in an ancient cemetery; staring her portrait for a long time in a museum; and finally moving to the Hotel McKittrick where Carlotta lived. In the end of the day, Scottie reports his findings to Gavin. When Madeleine jumps in the water of San Francisco Bay, Scottie rescues her and brings her home. He has a crush on her and they fall in love for each other. When they go together to a mission outside San Francisco, Madeleine runs to the bell tower of the church and the disabled Scottie is unable to reach her; she jumps off the tower, committing suicide. There is a trial and the traumatized Scottie is interned with a breakdown. When he is discharged from the hospital, he meets the brunet seller Judy Barton by chance and her resemblance with Madeleine is amazing. Scottie approaches to Judy and expect to have a second chance in love until he sees a souvenir of a killing.

"Vertigo" is a masterpiece of obsession of Alfred Hitchcock. The timeless complex story is perfect and full of suspense and psychological and sexual tensions. Kim Novak is extremely sexy and has an extraordinary performance in her double role and James Stewart is awesome as usual performing a charismatic character that becomes obsessed when he sees Judy. Barbara Bel Geddes performs an important support character that helps to develop James Stewart's character. The open conclusion is also excellent and the music score is also spectacular and gives a suspenseful touch of class to this film. This time, the cameo of Alfred Hitchcock is walking in front of the entrance of the shipyard carrying what seems to be a musical instrument. My vote is ten.

Title (Brazil): "Um Corpo que Cai" ("A Body that Falls")
The Dizzy Heights of Excellence
Retired detective, who is scared of heights, is hired to follow another mans wife and there follows intrigue, mystery and suspense. A super melodrama! The acting,directing, sets, costumes, script, music, etc are all excellent. And near the start of the film there is one brilliant 10 minute period when there is no dialogue but the action is controlled only by the music. A sensational analysis of the movie is by Roger Ebert: see external reviews. This picture is worthy of maximum marks.
Love, love, love this movie!
Okay, so I love this movie just a little! But what's not to love! One Of Hitchcock's greatest movies in my opinion. There are so many good characters in this movie - but I almost think my favorite character is the city of San Francisco. Not really, it's Jimmy Stewart. BUT San Fran sure figures prominently in the movie. What a gorgeous city. Perhaps I'm a little partial because my husband & I spent our honeymoon there 20 years ago. The cinematography alone is worth seeing this movie as it is filmed beautifully. Also, there is some artistic twists like the green lights and haze in Novaks apartment.

This movie is definitely a great plot twister the 1st time you see it. It of course loses some of the bang with subsequent viewings since you know the twist. However, subsequent viewings are still enjoyable as I always notice different tidbits and details I didn't catch before.

I love Jimmy Stewart in his love-sick puppy, obsession role. I love the title theme music. It starts creating tension right off the bat, and keeps your pulse going throughout the movie, anticipating what is going to happen next.

I just recently re-watched the movie (probably my 5-6th time) with my 14 year old daughter, who was seeing it for the first time. I had yet been able to convince her to watch any old, classic movies with me ( too old fashioned in her mind). But for whatever reason, she agreed this time. And what a great 1st classic movie for her to see. I was surprised but she not only stuck with it all the way to the end, but was actually somewhat riveted throughout the movie! What surprised me is she somewhat predicted the ending ahead of time. That kind of shocked me because I never saw it coming the first time I watched.

I'm not sure why, but Midge's character creeps me out more with each viewing. Especially the painting scene - she seems like a stalker, obsessed lover. But Bel Geddes plays her beautifully.

You definitely have to see this movie. It is one of Hitchcock's best!
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