Many Thanks

It was nearly a year ago that I began to think about hosting a blog event focused on Alfred Hitchcock's Vertigo. I had just read an English translation of the French noir novel the film was adapted from and wanted to blog about it. But to simply write a book-to-film piece didn't appeal. And a straight-ahead review struck me as not only daunting but - redundant - so much has been written on Vertigo by so many over the years, beginning with France's Cahiers du Cinema set 50+ years ago. So, I thought it might be interesting to try something different. What evolved was "A Month of Vertigo," a more-than-a-month-long meditation on the masterpiece from many angles by many bloggers. This turned out to be much more work than I ever anticipated - and much more rewarding than I ever imagined. The icing on the cake has been the honor of being voted a 2012 CiMBA for "Best Classic Movie Blog Event" by the Classic Movie Blog Association.

This award would never have come my way if not for the incredible contributions of the superb guest bloggers who joined me in celebrating Hitchcock's great masterwork (now, according to Sight and Sound, the best film ever). I owe a special debt of gratitude to Brandon Kyle Goco (of Brandon Kyle the Cinephile) who created this wonderful teaser/promo as the event prepared to launch:

I'd like to again thank each of the bloggers who participated - this award belongs to them as much as it does The Lady Eve:

• R.D. Finch of The Movie Projector, who kicked off "A Month of Vertigo" on January 1, 2012 with "Deadly Obsession: Alfred Hitchcock's Vertigo," a reflection on the film's structure and themes.

• Whistlingypsy of Distant Voices and Flickering Shadows who offered her contemplation of "Bernard Herrmann ~ Composer of Haunting Music and Treacherous Dreams."

• Blogger and author Christian Esquevin (Silver Screen Modiste is his blog,  Adrian: Silver Screen to Custom Label is his book) who explored "The Costumes of Vertigo."

• Brandie Ashe of True Classics, who assessed Kim Novak's greatest role and performance with "Kim Novak in Vertigo: A Hypnotic Presence."

• Michael Nazarewycz of Scribe Hard on Film, who considered the film's iconic setting with "More Than Just the Streets of San Francisco."

• Author Steven DeRosa (Writing with Hitchcock), expert on the Hitchcock screenwriters and screenplays, who explored the story behind Samuel Taylor's best known screenplay with "An Inconsequential Yarn."

• John Greco of Twenty Four Frames, who had recently interviewed award-winning biographer Patrick McGilligan about his new Nicholas Ray bio - and interviewed him again for our event on the subject Alfred Hitchcock, about whom McGilligan had written a 2004 biography, and Vertigo.

• Allen Hefner of Bit Part Actors, a man who knows his supporting players well, who took a closer look at some of the film's unsung character actors (and more) with Vertigo, The Bit Players.

• Brian/Classicfilmboy of Classicfilmboy's Movie Paradise, who examined one of James Stewart's greatest performances with "James Stewart: A Walk on the Dark Side."

• Brandon Kyle Goco who contributed not only the promo but also the vlog (video blog), "Vertigo: Alfred Hitchcock's Edifice to Obsession."

• Vertigo authority Dan Auiler, author of the definitive VERTIGO: The Making of a Hitchcock Classic, who wrote of the film's mesmerizing impact with "Vertigo for Life."

• Joel Gunz aka/the Alfred Hitchcock Geek, who meditated upon one moment of the film with "Hitchcock's Most Beautiful Shot Ever; Or, A Single Frame So Good, 2,000 Words Don't Do it Justice."

(My own contribution, "A Month of Vertigo, The Final Chapter," contemplated the transformation of a genre novel into a cinematic work of art.)

Thank you to the members of CMBA for honoring the blog event, the contributors and Vertigo with this deeply appreciated award.

  Click here for the complete list of 2012 CiMBA award winners.

Alfred Hitchcock's "Vertigo" at Oakland's Paramount Theatre

THE PARAMOUNT THEATRE, AN ART DECO MASTERPIECE

Friday night, March 9, Alfred Hitchcock’s Vertigo (1958) will screen at Oakland, California’s spectacular Art Deco movie palace, The Paramount Theatre, as part of its Spring Movie Classic Series. The ticket price is an amazingly low $5.00. And…Movie Classic Night includes a newsreel, cartoons and Jerry Nagano at the Mighty Wurlitzer. Kudos to the sponsors of the series, Vo’s Restaurant (authentic Vietnamese cuisine) and the Pacific Pinball Museum.

"A Month of VERTIGO," TCM and...Synchronicity

Sans Soleil

This blog was consumed by Vertigo all through January and half of February. I thought I'd moved on, was looking forward to Mad Men on Sunday nights - and then I opened the March issue of TCM's Now Playing guide.

A Month of "Vertigo," The Final Chapter

by The Lady Eve

It was 1948 in post-war France when mystery writers Pierre Boileau and Thomas Narcejac met for the first time at an awards ceremony for the Prix du Roman d'Aventures, a literary award for crime fiction. Narcejac received the prize that year and Boileau had taken the honor ten years earlier; in another two years they would become writing partners. Together the pair forged their own approach to the French mystery novel, placing new emphasis on character and suspense.

Today their work is considered a hybrid of two genres: the traditional whodunit and le roman noir (thriller). Le roman noir of that era was influenced by crime writers like Hammett and novelists of the naturalist school like Emile Zola, but Boileau and Narcejac were more inspired by the likes of Edgar Allen Poe. What most post-war French crime fiction did have in common was a dark vein of fatalism and, according to Michel Lebrun, another genre writer, Boileau-Narcejac’s work was marked by such persistent gloom that “...the hero, for them, should never wake up from his nightmare.”

Hitchcock’s Most Beautiful Shot Ever; Or, A Single Frame So Good, 2000 Words Don’t Do It Justice

by guest contributor Joel Gunz

Practically every frame of every movie Alfred Hitchcock made could be blown up and hung on a museum wall. He had such a clear sense of composition that you can turn off the sound, forget the story and set your DVD player to slo-mo, letting the images parade by.*

Among the many iconic pictures that his camera has captured, the one pictured above is arguably the most sublime.

Practically everything that happens in the first half of Vertigo is carefully designed to lead the viewer to Madeleine’s (Kim Novak’s) trip to Fort Point, at the foot of the Golden Gate Bridge. Let’s take a closer look at this single frame from the movie.

Vertigo for Life

by guest contributor Dan Auiler

A month of Vertigo is light sentence. Most of us who encounter this film end up serving life sentences. Our lives, our thoughts become trapped in the vortex of the strong currents this film produces. Vertigo's meaning and importance in film have become so varied and vital that choosing one tendril spinning out from one of John Whitney's Lissajous diagrams is challenging - but keeping that line of thought from swirling back into the film's center and tossing you out on some other surprising shore is just about impossible.

Vertigo: Alfred Hitchcock's Edifice to Obsession

a video blog by guest contributor Brandon Kyle Goco

Brandon Goco, guest host of Turner Classic Movies’ monthly podcast series for October 2011, is both a film student and a movie fanatic. He has penned well over a hundred individual blogs for the TCM Classic Film Union, has his own blog, Brandon Kyle the Cinephile, and has only recently taken up video blogging. At the age of 20, Brandon is currently attending a California State University, majoring in film studies and working part-time as the production coordinator and general manager for the university’s local television station. He has dreams of becoming a film director or film preservationist some day.

Brandon on Vertigo (he recommends his video be viewed in 720p):

James Stewart: A Walk on the Dark Side

by guest contributor Classicfilmboy

Alfred Hitchcock had a knack for bringing out the worst in the best of actors.

And I mean that as a compliment. He could take likable leading men, cast them as dark characters and draw great performances. Think of Cary Grant’s Johnnie in Suspicion (before the studio re-edited the ending), Joseph Cotton’s Uncle Charlie in Shadow of a Doubt and Robert Walker’s Bruno in Strangers on a Train.

Perhaps the best example of this was how Hitchcock used James Stewart, whose image was the “aw shucks” guy next door. As Hitchcock biographer Patrick McGilligan suggests, his heroes began to deepen with Grant and then with Stewart, and those films deepened as a result.

VERTIGO, the Bit Players

by guest contributor Allen Hefner

Kim Novak with Tom Helmore in Vertigo

A movie as incredible as Vertigo (1958) is a collaboration of many parts.  Even an actor as talented as James Stewart can’t carry a film of this complexity by himself.  The locations, scenery, costumes, set decoration, lighting, music, bit parts and even the cars are important to make any film a success. 

I enjoy looking at the Bit Parts in a movie…seeing where the Bit Actors came from and where they went after a successful movie.  Most of them didn’t get paid much, but the good ones put their whole heart and soul into each role, whether it was a small part in a television western or an opportunity to supply an important plot element in a movie like Vertigo.

Let’s look at some of the larger Bit Parts in Vertigo.  I have listed them in order of the number of roles they have played during their career. 

Hitchcock Biographer Patrick McGilligan Discusses VERTIGO with John Greco

by guest contributor John Greco

John Greco of Twenty Four Frames recently interviewed award-winning biographer Patrick McGilligan, author of Alfred Hitchcock: A Life in Darkness and Light (Harper Collins, 2004). The focus of their dialogue was the director's mysterious and magnificent Vertigo.

An Inconsequential Yarn

by guest contributor Steven DeRosa

“They say every true San Franciscan has one foot on a hill and the other in the past.”—Kate in Samuel Taylor’s The Pleasure of His Company

Since Vertigo is a film that garners such personal reactions, I wanted to begin this piece on something of a personal note. It’s not a matter of whether one likes the film or doesn’t.  For those who truly connect with Vertigo, it’s because it resonates with something inside of them. I was in high school when I saw Vertigo for the first time and the build up to seeing it was intense. It was only a few months before that I had begun to seriously study the master’s work, having been introduced to The Lodger, The 39 Steps, Sabotage, Notorious, Rear Window, and North by Northwest. Having become hooked on Hitchcock through that line up in school, I began my own exploration of every Hitchcock film I could get my hands on and by reading the corresponding chapter from Donald Spoto’s The Art of Alfred Hitchcock afterward. Then I’d re-watch the film over again, etc.

VERTIGO: More than just the streets of San Francisco...

By guest contributor Michael Nazarewycz

It’s easy to take for granted a film’s location.

Some settings, of course, are mandatory to support the historical accuracy of a film; consider the importance of location in a war picture or biopic.  Other settings might not be important for historical accuracy per se, but are critical to the believability of a film.  For example, Oliver Stone’s Wall Street (1987), title aside, never would have worked anywhere else but in New York City, given the high-finance, decade-of-decadence aspects of the story.  Beyond instances like these, though, it’s easy for filmmakers to pigeonhole movie locations into high-level descriptions like big city, sprawling country, hot resort, or cozy hamlet.

But where do you set your film when you need more than geography?  Where do you set your film when the location is less about sense of place and more about state of mind?

Kim Novak in VERTIGO: A Hypnotic Presence

by guest contributor Brandie Ashe

Scratch the surface of the prototypical “Hitchcock blonde”—a cool, reserved exterior masking a fiery and determinedly passionate woman—and the subtle differences in their characterizations become more evident.  In her three films for the director, Grace Kelly’s characters are paragons of dignity, displaying a patrician façade that eventually gives way to a sizzling sexuality. Tippi Hedren’s two characters for Hitchcock have an overt veneer of sophistication that nonetheless belies an innate playfulness at the heart of each woman.  And in her three films for Hitch, Ingrid Bergman is the foreign exotic who smolders with a hint of endearing uncertainty.

The Costumes of VERTIGO

by guest contributor Christian Esquevin

“I don’t wear suits, and I don’t wear gray. Another thing, I don’t wear black pumps,” said Kim Novak to Edith Head, the costume designer for Vertigo. “I don’t care what she wears as long as it’s a gray suit," Hitchcock retorted when Edith reported this conversation to him. Thus began the creative tension over the costuming of Vertigo. But in a clash of opinion over the visual aspects of a Hitchcock film, Hitch always prevailed. Indeed, he had the colors already in mind along with the costume types he wanted even before pre-production for Vertigo began. Kim Novak wore the gray suit with the black pumps - her iconic look in Vertigo. “I had never had a director who was particular about the costumes, the way they were designed, the specific colors,” said Novak about Hitchcock later.

Bernard Herrmann - Composer Of Haunting Music and Treacherous Dreams

by guest contributor Whistlingypsy

Just as my fingers on these keys

Make music, so the self-same sounds

On my spirit make a music, too.

~ excerpt from Peter Quince at the Clavier by Wallace Stevens

"I don’t think Mozart’s going to help at all."

~ Midge in Vertigo

British composer Ralph Vaughn Williams, who greatly influenced young Bernard Herrmann and for whom he had a great admiration, took the subject of film score composition seriously and in encouraging his contemporaries to do the same said, “I believe that the film contains potentialities for the combination of all the arts such as Wagner never dreamed of, and I would therefore urge those distinguished musicians who have entered the world of the cinema to realize their responsibility in helping to take the film out of the realm of hack work and make it a subject of a real composer.” Music constitutes an essential part of the film experience, yet we often fail to acknowledge its importance to the way we perceive film. This is not to say that music is comprehensible only to those who have formal training; to the contrary the ability to appreciate music is a capacity we all share. The often overlooked genius of composing for film in general, and of Bernard Herrmann specifically, is an ability to work within the parameters of music theory while exploiting the viewer's instinctive knowledge of musical conventions, creating a lush musical landscape perfectly suited to the emotional content of the image captured on film.

Deadly Obsession: Alfred Hitchcock's VERTIGO

by guest contributor R.D. Finch

"What's that old Oscar Wilde thing? 'Each man kills the thing he loves...' That I think is a very natural phenomenon, really."

Alfred Hitchcock, in a 1963 interview

In his fifty-five year long career in films, Alfred Hitchcock directed sixty-seven movies. At least a dozen of these are bona fide masterpieces, and about an equal number are excellent movies that fall just short of the masterpiece mark. By any measure that's an impressive record, one unequaled by any other filmmaker I can think of. Even more impressive is that Hitchcock's pictures are not rarefied works of art of interest mainly to aesthetes and film scholars, but full-blooded movies that appeal equally to ordinary filmgoers looking for accomplished entertainments and to cinephiles looking for an intellectually and artistically stimulating film-viewing experience. Of all Hitchcock's pictures, none managed to combine these two modes—entertainment and art—so skillfully, so intriguingly, and so pleasingly as his 1958 film Vertigo.

A Month of VERTIGO: the Bloggers...

Arriving with 2012 will be this blog’s first major event, A Month of VERTIGO. The month will feature 10 11 bloggers and one ‘vlogger' reflecting on facets of Alfred Hitchcock’s Vertigo (1958).

Unpopular with critics and audiences when it was released, Vertigo has endured. Today it is generally considered the great auteur's masterpiece of masterpieces and is one of the most highly regarded films in movie history. Vertigo is an ambitious work of grand scale and reputation - a staggering review subject for the lone blogger. And so, we eleven twelve have joined together to contemplate this masterwork from many angles.

Here's what to expect at The Lady Eve's Reel Life during January 2012:

...More About "A Month of VERTIGO"

Not long ago I sat down with the 1956 British translation of Pierre Boileau and Thomas Narcejac's D'Entre Les Morts (1954). The book is now published under the title Vertigo (it was originally called 'The Living and the Dead') owing to the legend that is the 1958 Alfred Hitchcock film based on Boileau/Narcejac's novel. When I finished reading, I wanted to blog about Vertigo and decided to try to do it "with a little help from my friends." One of these friends (Brandon Goco) even created a 'teaser' for what turned into the project we're calling A Month of VERTIGO:

A Month of VERTIGO will begin January 1 and run through the month (and into early February) - with ten bloggers (including me) and one 'vlogger' (video blogger) contemplating Vertigo from a variety of perspectives. More details will appear soon about Reel Life's first major blog event.