One of Hitchcock's favorite movies

Bryce 2022-04-20 09:01:07

The legend about Carlot in the first half of the movie was too illusory, so that both the male protagonist and the audience believed the words of Madeleine's husband, and both believed that the storyline revolved around moving souls.

But Hitchcock's movies have never had ghosts, right? It's all about the evil of human nature behind them.

The male protagonist accidentally discovered that he had acrophobia during a hunt for work, and he also chose to retire because of this incident. However, one day, an old classmate asked him to take care of Madeleine, Anh, who was suspected of being moved by Carlot as a private investigator, on the grounds that the male protagonist was his trusted friend. . . Then they were fine. . lol

Later on that tower, he was unable to catch up to Madeleine due to acrophobia, and the sight of Madeleine falling by suicide stimulated him, causing him to suffer from acute depression. When he was alone in the ward, Hitchcock constantly changed the color of the mask on the male protagonist's face by constantly enlarging and rotating the flower, adding the rotating animation special effect of the pattern, and accompanied by intense rhythm music. The audience was instantly immersed in the male protagonist's fear of dizziness and inner torment regret.

The existence of Judy is the reversal of the film. In fact, the real Madeleine has never met the male protagonist at all. His memories are all those between Judy who disguised Madeleine...and The real Madeleine was strangled long before Judy went up the tower, and her bag was thrown down as she came up. All this is that the male protagonist's friend used his fear of heights and the false legend of Carrot to murder his wife, and to make the male protagonist as a witness and make himself at peace.

After discovering Carlot's necklace, the male protagonist already knew it, and he chose to take Judy to the tower to find out. This time he overcame his fear, just when we thought that Judy had calmed his anger, and when the two embraced and were about to draw a happy ending, a dark shadow suddenly appeared, and Judy, who was ashamed, was frightened with the dead Madeleine. Generally, falls from towers. The picture cuts to the tower again, it turns out to be the nun. The nun rang the bell after praying, and the story ended.

As the male protagonist said, Judy is too stupid to wear a killing necklace. Since she participated in the murder, her conscience must be condemned. So when she saw the shadow, did she think she was seeing the bloodstained Madeleine or the sullen Carlot.

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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

  • Scottie: [to Judy, after being taken to the scene of Madeline's death] No, no. I have to tell you about Madeleine now. Right there.

    [Pointing]

    Scottie: We stood there and I kissed her for the last time, and she said, 'If you lose me you'll know that I loved you and wanted to keep on loving you.' And I said, 'I won't lose you.' But I did.

    [pause]

    Scottie: And then she turned and ran into the church. I tried to follow, but it was too late.

  • Midge: You want to know something? I don't think Mozart's going to help at all.