A little guess about the last half hour

Isai 2021-10-18 19:52:28

Why do I think the part after an hour and a half is all produced by the mentally ill male protagonist?

The reasons are as follows:
1. Perspective. Before almost every scene, there was a male lead in every mirror. After 90 minutes, not only Judy's perspective was added, but also the passage of her memories was added. In the first half, Miss Wood, who had been fascinated by the hero, did not show up again after visiting him, suspicious. (Someone will definitely mention the difference in perspective between the two parts of Hitchcock’s Cry, but I don’t think the two are similar. This movie is about the male protagonist from the beginning to the end, and suddenly changed A Judy's perspective to solve the puzzle is quite abrupt)

Second, motivation. If you try to treat the last 30 minutes as a dream, it undoubtedly has a strong compensation and negation function-the male protagonist’s fear of heights is healed, and Madeleine’s death was not his fault, but the murder. . What's more, Madeleine was murdered by his husband, and it was Judy who fell in love with herself. What a perfect set of plots, it has transformed himself, who was originally completely at a moral disadvantage (a woman who fell in love with a friend and a client) into a hero who dared to love and hate, and bravely solve the mystery. (Of course, I have to think of the relationship between the movie and the dream. The audience watching the movie is also dreaming. The male protagonist, as the carrier of the audience's consciousness, naturally hopes that the movie will have a satisfactory and humane and moral ending)

3: Coincidence. It was a coincidence that the hero met Judy. I don't know if the intention of this coincidence arrangement is really just a coincidence.

In summary, if there are too many unexplainable plots in the first half, it needs to be explained in the last thirty minutes. From a realistic point of view, it succeeded (although some coincidences are too unusual in my opinion).

Finally, I want to say whether there is always more than one truth, and which one is closer to the truth for you depends on which one you choose to believe.

One question: When Judy and the male lead were entangled on the tower, they said: "Dead! Dead! He'd broken her neck!" At that time, couldn't the autopsy at that time be able to distinguish between falling from a high altitude and breaking her neck (or other conventional means) Is the difference? I think this is either a flaw in the play or a hint.

ps. Jinnovak is really beautiful and dizzying. Can be tied with Grace Kelly as my 20th century goddess.

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Extended Reading
  • Bonnie 2022-03-21 09:01:09

    1. Hitchcock only uses the most basic plot and single-line narrative method of the original. The principle of suspense: an invisible but knowing thing to happen changes the environment, atmosphere, scene, and people's words and deeds, making people frightened and uneasy. 2. Hitchcock pays attention to the reality of people in the scenes. These scenes are based on the principle that there is a gap between the image and the dialogue, so that the first situation (obvious) and the second situation (hidden) can be photographed at the same time In order to obtain the dramatic effectiveness of a strict perspective. Instead of pursuing explanatory dialogue, he directly shoots emotions such as doubt, jealousy, desire, envy, etc. His films are concise, clear and at the same time good at shooting the most flexible and changeable relationships between people. 3. In the film, Judy does not want to be Madeleine. In the novel, the girl doesn't want to change back. In the film, the woman realizes that the man is gradually tearing off her mask, which is good for the plot. Hitchcock called it "psychological sex", which is a desire to inspire men to create an impossible sex image. To put it simply, this man figured out a female corpse to sleep, which is pure necrophilia.

  • Dariana 2022-03-24 09:01:10

    The first half is three stars and the second half is five stars. After the heroine's "death", the film suddenly escalated from the suspense film to the height of the philosophy film: the gaze of the object, the id and the self. The real horror plot is to deceive the child’s owner to reunite with Jonny out of love, constructing a true self, a kind of rebirth in a sense, but chronically murdering himself because of love, destroying every aspect of self-existence. Kind of possibility. When she dyed her hair according to Jonny's instructions, the men and women finally hugged each other. Outside the screen, I just wanted to resist cursing. I couldn't help it anymore, "I do it! Love makes money and kills!"

Vertigo quotes

  • Judy: I have to go to work. I've got a job.

    Scottie: Don't go to your job.

    Judy: And what'll I live on? My oil wells in Texas?

    Scottie: Let me take care of you, Judy.

    Judy: Thanks very much, but, no thanks.

    Scottie: No, Judy, you don't understand.

    Judy: Well, I understand, all right. I've been understanding since I was seventeen. And the next step is?

  • Scottie: We could just see a lot of each other.

    Judy: Why? Because I remind you of her? Not very complementary. And nothing else?

    Scottie: No.

    Judy: Not very complementary, either.