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Vertigo received mixed reviews upon initial release, but is now often cited as a classic Hitchcock film and one of the defining works of his career. It's Good to Be the King: The Seriously Funny Life of Mel Brooks. Internationally, Bad was commercially successful.

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Scottie is forced into early retirement because an incident in the line of duty has caused him to develop an extreme fear of heights and a false sense of rotational movement. Scottie is hired by an acquaintance, Gavin Elster, as a to follow Gavin's wife Madeleine , who is behaving strangely. The film was shot on location in , , and at in. It is the first film to use the , an in-camera effect that distorts perspective to create disorientation, to convey Scottie's acrophobia. Vertigo received mixed reviews upon initial release, but is now often cited as a classic Hitchcock film and one of the defining works of his career. Attracting significant scholarly criticism, it replaced 1941 as the in the 2012 British Film Institute's critics' poll. In 1996, the film underwent a major restoration to create a new and. It has appeared repeatedly in polls of the best films by the , including a 2007 ranking as. Scottie tries to conquer his fear, but his friend and ex-fiancée Midge Wood says that another severe emotional shock may be the only cure. An acquaintance from college, Gavin Elster, asks Scottie to follow his wife, Madeleine, claiming that she is in some sort of danger. Scottie reluctantly agrees, and follows Madeleine to a florist where she buys a bouquet of flowers, to the and the grave of one Carlotta Valdes 1831—1857 , and to the art museum where she gazes at the Portrait of Carlotta. He watches her enter the McKittrick Hotel, but on investigation she does not seem to be there. A local historian explains that Carlotta Valdes committed : she had been the mistress of a wealthy married man and bore his child; the otherwise childless man kept the child and cast Carlotta aside. Gavin reveals that Carlotta who he fears is Madeleine is Madeleine's great-grandmother, although Madeleine has no knowledge of this, and does not remember the places she has visited. Scottie tails Madeleine to and, when she leaps into the bay, he rescues her. The next day Scottie follows Madeleine; they meet and spend the day together. They travel to and Cypress Point on , where Madeleine runs down towards the ocean. Scottie grabs her and they embrace. Madeleine recounts a nightmare and Scottie identifies its setting as , childhood home of Carlotta. He drives her there and they express their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted on the steps by his acrophobia, sees Madeleine plunge to her death. The death is declared a suicide. Gavin does not fault Scottie, but Scottie , becomes and is in a , almost. After release, Scottie frequents the places that Madeleine visited, often imagining that he sees her. One day, he notices a woman who reminds him of Madeleine, despite her different appearance. Scottie follows her and she identifies herself as Judy Barton, from. But Judy rips up the letter and continues the charade, because she loves Scottie. After Judy complies, hoping that they may finally find happiness together, he notices her wearing the necklace portrayed in the painting of Carlotta, and realizes the truth, and that Judy had been Elster's mistress, before being cast aside just as Carlotta was. Scottie insists on driving Judy to the Mission. Scottie forces her up the bell tower and makes her admit her deceit. Scottie reaches the top, finally conquering his acrophobia. Judy begs Scottie to forgive her, because she loves him. He embraces her, but a shadowed figure rises from the trapdoor of the tower, startling Judy, who steps backward and falls to her death. Scottie, bereaved again, stands on the ledge, while the figure, a nun investigating the noise, rings the mission bell. Charles Barr in his monograph dedicated to the study of Vertigo has stated that the central theme of the film is psychological obsession, concentrating in particular on Scottie as obsessed with the women in his life. After first seeing it as a teenager in 1958, had gone back for 26 more viewings by the time he wrote The Art of Alfred Hitchcock in 1976. In a 1996 magazine article, Geoffrey O'Brien cites other cases of 'permanent fascination' with Vertigo, and then casually reveals that he himself, starting at age 15, has seen it 'at least thirty times'. The of Vertigo is an adaptation of the French novel From Among the Dead by. Hitchcock had attempted to buy the rights to the previous novel by the same authors, Celle qui n'était plus, but he failed, and it was made instead by as. Although once suggested that D'entre les morts was specifically written for Hitchcock by Boileau and Narcejac, Narcejac subsequently denied that this was their intention. However, Hitchcock's interest in their work meant that commissioned a synopsis of D'entre les morts in 1954, before it had even been translated into English. In the book, Judy's involvement in Madeleine's death was not revealed until the. At the script stage, Hitchcock suggested revealing the secret two-thirds of the way through the film, so that the audience would understand Judy's mental dilemma. He decided to remove it. Herbert Coleman, Vertigo's associate producer and a frequent collaborator with Hitchcock, felt the removal was a mistake. The picture's not that important. Coleman reluctantly made the necessary edits. Writing There were 3 screenwriters involved in the writing of Vertigo. Hitchcock originally hired playwright to write a screenplay, but rejected his work, which was titled Darkling, I Listen, a quotation from. He worked on adapting the novel during Hitchcock's absence abroad, and submitted a treatment in September 1956. The final script was written by —who was recommended to Hitchcock due to his knowledge of San Francisco— from notes by Hitchcock. Among Taylor's creations was the character of Midge. Taylor attempted to take sole credit for the screenplay, but Coppel protested to the , which determined that both writers were entitled to a credit and leave Anderson out of the film writing credits. Casting , who was under personal contract to Hitchcock and had appeared on both his television show and in his film , was originally scheduled to play Madeleine. She modeled for an early version of the painting featured in the film. Following delays, including Hitchcock becoming ill with gallbladder problems, Miles became pregnant and so had to withdraw from the role. The director declined to postpone shooting and cast as the female lead. By the time Novak had tied up prior film commitments and a vacation promised by , the studio that held her contract, Miles had given birth and was available for the film. Hitchcock proceeded with Novak, nevertheless. Columbia head agreed to lend Novak to Vertigo if Stewart would agree to co-star with Novak in , a Columbia production released in December 1958. Filming Initial on-site principal photography Vertigo was filmed from September to December 1957. Principal photography began on location in in September 1957 under the From Among the Dead the literal translation of D'entre les morts. The film uses extensive location footage of the , with its steep hills and tall, arching bridges. In the driving scenes shot in the city, the main characters' cars are almost always pictured heading down the city's steeply inclined streets. In October 1996, the restored print of Vertigo debuted at the in San Francisco with a live on-stage introduction by surviving cast member Kim Novak, providing the city a chance to celebrate itself. Visiting the San Francisco film locations has something of a cult following as well as modest tourist appeal. Such a tour is featured in a subsection of 's documentary montage. James Stewart as Scottie, and Kim Novak as Judy, in Scottie's apartment, with visible through the window The scene in which Madeleine falls from the tower was filmed at , a in ,. Associate producer Herbert Coleman's daughter Judy Lanini suggested the mission to Hitchcock as a filming location. A steeple, added sometime after the mission's original construction and secularization, had been demolished following a fire, so Hitchcock added a bell tower using scale models, , and trick photography at the Paramount studio in Los Angeles. The original tower was much smaller and less dramatic than the film's version. The tower's staircase was later assembled inside a studio. The facade of the building remained mostly intact until 2012, when the owner of the property erected a wall enclosing the entrance area on the Lombard side of the building. The original tower was much smaller and less dramatic than the film's version. Eventually, the headstone was removed as the mission considered it disrespectful to the dead to house a tourist attraction grave for a fictional person. All other cemeteries in San Francisco were evicted from city limits in 1912, so the screenwriters had no other option but to locate the grave at Mission Dolores. The Carlotta Valdes portrait was lost after being removed from the gallery, but many of the other paintings in the background of the portrait scenes are still on view. However, the lone tree they kiss next to was a prop brought specially to the location. Hitchcock once said that he included it as a. Also prominent in the background is the tower of the. Joseph's Hospital, located at 355 Buena Vista East, across from. The complex has been converted into condominiums and the building, built in 1928, is on the National Register of Historic Places. It is across the street from the Fairmont Hotel, where Hitchcock usually stayed when he visited and where many of the cast and crew stayed during filming. Shots of the surrounding neighborhood feature the and. Barely visible is the Mark Hopkins hotel, mentioned in an early scene in the movie. It was torn down in 1959 and is now an athletic practice field for School. Paulus Lutheran Church, seen across from the mansion, was destroyed in a fire in 1995. The shop's location at the time of filming was 224 Grant Avenue. The Podesta Baldocchi flower shop now does business from a location at 410 Harriet Street. It is no longer operating. Pop Leibel's bookstore, the Argosy, was not a real location, but one recreated on the Paramount lot in imitation of the real-life Argonaut Book Store, which still exists near Sutter and Jones. Filmed at the real or simulated with mattes , by then the post-WW2 Bethlehem Steel shipyard. Subsequent studio shooting Following 16 days of location shooting, the production moved to Paramount's studios in Hollywood for two months of filming. Hitchcock preferred to film in studios as he was able to control the environment. Once sufficient location footage had been obtained, interior sets were designed and constructed in the studio. Hitchcock used the effect to look down the tower shaft to emphasise its height and Scottie's disorientation. Following difficulties filming the shot on a full-sized set, a model of the tower shaft was constructed, and the dolly zoom was filmed horizontally. The rotating patterns in the title sequence were done by , who used a called the , the , which was used during World War II to aim anti-aircraft cannons at moving targets. This made it possible to produce an animated version of shapes known as based on graphs of parametric equations by mathematician. In March 1997, the cultural French magazine published a special issue titled Vertigo's about the film locations in San Francisco, Dans le décor, which lists and describes all actual locations. Costume design Hitchcock and costume designer used color to heighten emotion. Grey was chosen for Madeleine's suit because it is not usually a blonde's colour, so was psychologically jarring. In contrast, Novak's character wore a white coat when she visited Scottie's apartment, which Head and Hitchcock considered more natural for a blonde to wear. Alternate ending A coda to the film was shot that showed Midge at her apartment, listening to a radio report voiced by San Francisco TV reporter describing the pursuit of Gavin Elster across Europe. Midge switches the radio off when Scottie enters the room. They then share a drink and look out of the window in silence. Contrary to reports that this scene was filmed to meet foreign censorship needs, this tag ending had originally been demanded by Geoffrey Shurlock of the U. The footage was discovered in Los Angeles in May 1993, and was added as an alternative ending on the release, and later on and releases. Music Main article: The score was written by. It was conducted by and recorded in Europe because there was a musicians' strike in the U. In a 2004 special issue of the 's BFI magazine , director described the qualities of Herrmann's famous score: Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again... And the music is also built around spirals and circles, fulfilment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession. Vertigo premiered in San Francisco on May 9, 1958, at the Stage Door Theater at Mason and Geary now the nightclub. These two films and three others — 1956 , 1955 , and 1948 — had been kept out of distribution by Hitchcock since 1968. Cleaning and restoration were performed on each film when new 35mm prints were struck. In 1996, the film was given a lengthy and controversial restoration by and and re-released to theaters. The new print featured restored color and newly created audio, using modern sound effects mixed in digital surround sound. In October 1996, the restored Vertigo premiered at the in San Francisco, with Kim Novak and in person. At this screening, the film was exhibited for the first time in DTS and , a format with a similar frame size to the system in which it was originally shot. When restoring the sound, Harris and Katz wanted to stay as close as possible to the original, and had access to the original music recordings that had been stored in the vaults at Paramount. However, as the project demanded a new , it was necessary to re-record some sound effects using the process. The soundtrack was remixed at the Alfred Hitchcock Theatre at. Aware that the film had a considerable following, the restoration team knew that they were under particular pressure to restore the film as accurately as possible. To achieve this, they used Hitchcock's original dubbing notes for guidance of how the director wanted the film to sound in 1958. The new mix has also been accused of putting too much emphasis on the score at the expense of the sound effects. Home media In 1996, director Harrison Engle produced a documentary about the making of Hitchcock's classic, Obsessed with Vertigo. Narrated by , the film played on , and has since been included with DVD versions of Vertigo. Surviving members of the cast and crew participated, along with noted filmmaker and Alfred's daughter,. Engle first visited the Vertigo shooting locations in the summer of 1958, just months after completion of the film. Vertigo was first released on DVD in March 1998. It was subsequently released on Blu-ray in October 2012 as part of Alfred Hitchcock: The Masterpiece Collection, in June 2013 as part of Alfred Hitchcock: The Essentials Collection, and finally in May 2014 as a stand-alone Blu-ray edition. Some of the home video releases also carry the original mono audio track. The 2005 Hitchcock Masterpiece Collection DVD contains the original mono track as an option. Significant color correction was necessary because of the fading of original negatives. In some cases a new negative was created from the silver separation masters, but in many instances this was impossible because of differential separation shrinkage, and because the 1958 separations were poorly made. Separations used three individual films: one for each of the primary colors. In the case of Vertigo, these had shrunk in different and erratic proportions, making re-alignment impossible. As such, significant amounts of computer assisted coloration were necessary. When such large portions of re-creation become necessary, then the danger of artistic license by the restorers becomes an issue, and the restorers received some criticism for their re-creation of colors that allegedly did not honor the director's and cinematographer's intentions. The restoration team argued that they did research on the colors used in the original locations, cars, wardrobe, and skin tones. One breakthrough moment came when the supplied a well-preserved green paint sample for a car used in the film. As the use of the color green in the film has artistic importance, matching a shade of green was a stroke of luck for restoration and provided a reference shade. In October 2014, a new was presented at the in. This version gives credit to Harris and Katz at the end of the film, and thanks them for providing some previously unknown stereo soundtracks. Contemporaneous reception The initial reception expressed in film reviews for Vertigo were mixed. More than once he gives us critical scenes in long shots establishing how he's going to get away with a couple of story tricks. Of the 28 newspaper and magazine reviews that I have looked at, six are, with reservations, favourable, nine are very mixed, and 13 almost wholly negative. Common to all of these reviews is a lack of sympathy with the basic structure and drive of the picture. Additional reasons for the mixed response initially were that Hitchcock fans were not pleased with his departure from the romantic-thriller territory of earlier films and that the mystery was solved with one-third of the film left to go. In an interview with , Hitchcock stated that Vertigo was one of his favourite films, with some reservations. Hitchcock blamed the film's failure on the 49-year-old Stewart looking too old to play a convincing love interest for the 24-year-old Kim Novak. At the time of the film's release on May 9, 1958, Novak had turned 25 the previous February, and Stewart would turn 50 some 11 days later, on May 20, 1958. Hitchcock and Stewart received awards at the , including a Silver Seashell for Best Director tied with for aka Persons Unknown and Best Actor also tied, with in. The film was nominated for two , in the technical categories , , , and. Re-evaluation In the 21st century and starting with the 2002 polls, Vertigo was ranked just behind 1941 as the best film ever made; ten years later, in the same magazine, it was voted by critics as the best film ever made. Already in the 1960s, the French critics began re-evaluating Hitchcock as a serious artist rather than just a populist showman. However, even 's important 1962 book of interviews with Hitchcock not published in English until 1967 devotes only a few pages to Vertigo. Adding to its mystique was the fact that Vertigo was one of five Hitchcock-owned films removed from circulation in 1973. When Vertigo was re-released in theaters in October 1983, and then on home video in October 1984, it achieved an impressive commercial success and laudatory reviews. Similarly adulatory reviews were written for the October 1996 showing of a restored print in and sound at the in San Francisco. Among international film critics, the film has experienced a similar re-evaluation. Every ten years since 1952, the 's film magazine has asked the world's leading film critics to compile a list of the 10 best films of all time. Not until 1982 did Vertigo enter the list, and then in 7th place. By 1992 it had advanced to 4th place, by 2002 to 2nd. It is a dream-like film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul-mate. A small minority of critics have expressed dissenting opinions. In his 2004 book , British film critic suggested that Vertigo 's critical re-evaluation has led to excessive praise, and argued for a more measured response. In 2005, Vertigo came in second to in British magazine 's book 100 Greatest Movies of All Time. In 2008, an poll of readers, actors, and critics named it the 40th greatest movie ever made. In March 1997, the cultural French magazine published a special issue about Vertigo's locations in San Francisco, Dans le décor, which lists and describes all actual locations. In October 1996, the restored print of Vertigo debuted at the in San Francisco with a live on-stage introduction by Kim Novak, providing the city a chance to celebrate itself. Director has listed Vertigo as one of his favorite films of all time. Retrieved September 2, 2016. In Allen, Richard; Ishii-Gonzales, Sam. Alfred Hitchcock: Centenary Essays. The New York Times. Retrieved 8 March 2016. Retrieved September 4, 2014. Retrieved September 4, 2014. Retrieved 8 March 2016. Archived from on July 11, 2010. The New York Times Company. My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles. Archived from on 15 June 2002. Retrieved 18 October 2017. Retrieved September 4, 2017. Retrieved March 2, 2016. Retrieved July 4, 2017. Archived from on 2014-01-23. Retrieved January 1, 2014. Archived from on 26 December 2013. Retrieved 25 December 2013. Retrieved August 6, 2018. Retrieved August 6, 2018. Retrieved August 6, 2018. Retrieved 8 March 2016. Retrieved 6 December 2013. Retrieved 15 February 2018. Retrieved September 15, 2014. Vertigo: The Making of a Hitchcock Classic. Vertigo: The Making of a Hitchcock Classic. Block, Alex Ben; Wilson, Lucy Autrey, eds. George Lucas's Blockbusting: A Decade-By-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success. Coles, Felice Anne, ed. In memory of Richard B. Klein: essays in contemporary philology. Romance Monographs, University of Mississippi. Jimmy Stewart: a biography. Footsteps in the Fog: Alfred Hitchcock's San Francisco. The Dime Novel and the Master of Suspense: The Adaptation of D'Entre Les Morts Into Vertigo. Transforming the Screen, 1950—1959. Volume 7 of History of the American Cinema. Film Production Technique: Creating the Accomplished Image 5th ed. Alfred Hitchcock: A Life in Darkness and Light. A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. It's Good to Be the King: The Seriously Funny Life of Mel Brooks. Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960—1980 illustrated ed. Horror Film Aesthetics: Creating The Visual Language of Fear. New York: Simon and Schuster.
However, as the con demanded a newit was necessary to re-record some sound effects using the process. In 1996, the film was given a lengthy and controversial restoration by and and re-released to theaters. Durch die neuen technischen Möglichkeiten hat sich auch das Kennenlernen verändert und beschleunigt. Singles bad elster Hiroshima, the 2001 reissue was certified platinum by the IFPI for the sales of one million units. Bad is the seventh by American singer and songwriterreleased on August 31, 1987 in the United States by and internationally by. International Federation of the Phonographic Industry.

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