I like all the profile shots: https://nicksfilmjottings.blogspot.com/2019/08/vertigo-1958-ah.html
This is definitely one of Hitch's most complex pictures, in which he effectively makes James Stewart the bad guy. Think about what happens after it's over: there's a good case that having found out what happens, Stewart drives her to the point of the first murder and then murders her. It's not hard to make that stick because he is obsessed (and has been ever since he first started following 'Madeleine'). (And the fact that he has implicitly stripped her naked after the 'fall' into the bay is another unspoken element.) When he struggles then succeeds to make Judy into Madeleine and she's 'Will you love me now?' it's one of the saddest and most haunting things in any Hitchcock picture - it's almost a case of domestic abuse. It's that that makes the film so chilling.
And here. it's not just the red / green, but that overly ornate ironwork that we've seen before:
Also that animated / dream scene is totally out there and once again puts Hitch way ahead of his time.
That isn't Novak though in the opening credits scene is it?
Oh, by the way, what's Hitch up to with his wall art in this one?
No idea about the tall one on the right. The bottom left could be a Klee or a Miro, same applies to the one above it. 0 / 4.
Good supporting cast as always, particularly Barbara De Geddes, but also Tom Helmore, Henry Jones (coroner), Ellen Corby, Konstantin Shayne, Lee Patrick (now owns Madeleine's car). Car? Did someone say car? Hers is a 1957 Jaguar Mk VII, his a 1955 Desoto Firedown Sportsman.
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