The first vertigo scene (Alfred Hitchcock, 1958) is, along with the second and some other later – in general in those in which Kim Novak does not appear -, for contrast to other memorable, one of the least brilliant. Its essential presence fulfills the function of introducing ourselves to the main character, to Scottie Ferguson (at all times very well interpreted by James Stewart). He is a man in the last phases of convalescence for a fall during the persecution of a criminal. But his pain is not only bodily, but he feels guilty of the death of the police who tried to save him. As a consequence, he has a powerful trauma, and a sequel in the form of vertigo. Finding this character, injured, and next to a woman, immediately reminds us of The indiscreet windowbut there are two important differences: that Scottie has the most fully collapsed encourage It will be understood later, when the search is appreciated contrast with Madeleine, the woman he will fall in love.
The second scene is also strictly necessary. An ancient studies claims Scottie to carry out a work between detective and protection of his wife. Then we will know why he has chosen him, that man who has come out in the newspapers, who knows that he has been discharged from the police for that disability in the form of acrophobia.
From there, unforgettable, extraordinary scenes occur. Scottie follows the strange movements of a woman who will be given to her mystery and her beauty. Here Bernard Hermann’s unpayable music comes into play. Scottie will barely hide in her movements, because she will observe that Madeleine acts as if she were hypnotized. In the middle of the film, after the first final in the story (there are two finals, but with the first we would have stayed In albis), we will understand that this woman is actually a character who is being interpreted for a single spectator, which is intended to be mocked for the evil friend’s purposes.
Notice that I will incur some spiiler – not in the definitive – but that should not matter much when Eugenio Trías saw, without problem, a hundred times this film to end up writing a two hundred pages essay on it. And, in addition, here, it is Hitchcock himself that reveals much of the mystery in the middle of the story, a mystery that will continue to be for Scottie, although, slowly first and precipitously at the end, he is revealed.
It is incredible how the British director gets to convert Kim Novak, into her role as Madeleine, a woman as beautiful as bright, who moves inside a halo that suggests an ethereal insertion in the world, who, at times, in times, in His role, he thinks he is his ancestor. The plane in which it is close for the first time, when Scottie sees it through the chinch of a door, in the florist, is a sublime appearance. But it is still in each of the stations of that follow -up. Scottie, a man who has lost her self -esteem, is ready to fall into credulity, in a seduction that will leave him absolutely embelceded. That is the difference with her friend. He really wants it, but he does not spread that feeling, while Madelaine is a character that is not given, secret, inaccessible, that attracts him from another dimension of reality, without leaving the margin to resistance.
The film hinge is the trial in which Madelaine’s supposed suicide is settled. The judge vapulates Scottie with his accusing comments, unnecessary because they are of an alleged guilt that is not punishable. He is accused of having accepted that work being still an incapacitated by his acrophobia. As a result of that second trauma in which it falls, which is the loss of the woman she loved because of her helplessness to save her, she enters a serious depression that will last months. There, in the hospital, we see the visits of her friend, that woman who really wants him and does not abandon the hope that one day he falls in love with her.
In the first part, the question of the identity that is contemplated is that of a woman who falsely believes another, but that, in the eyes of it represents a real event, even if it is unheard of. In the second, what happens suggests other possible reflections. On the street, Scottie sees a woman who looks extraordinarily to Madelaine. Although his hairstyle, the color of his hair, his clothing, his makeup, and even his way of speaking, are different, he feels attracted because he clearly shares features with his deceased beloved. He approaches her. Little by little he is seduced. If he resists, he is regretting him at the same time, secretly, because that authentic woman, Judi, is the one who played the false Madeleine, and the one who fell in love with the man he was obliged to deceive, who, by a first professional assignment , and for love devotion later, I pursued her.
If Judi revealed the deception, if he told him that it was the impostor who hired the husband of the true Madeleine, he would have serious problems, perhaps with justice, but also with him. By knowing the falsehood that had produced so much damage, her love for her – who is she, that overlap of two identities? – would not prevent her fury, and her rejection, perhaps forever. And if I didn’t tell him, he could fall in love from another woman, from the real one. But the latter is not possible. Scottie insists that Judi acquiring the image of the woman she loved. He fell in love with that concrete presence, with his beauty and his mystery; Only of that. That real woman of now is not enough, which, little by little, has finally been seduced, until fully surrendered. Scottie only aspires to recover that image, to resurrect it, making it possible, palpable, latente, although that Judi is so different when speaking, moving as a vulgar woman, and not like that young woman who slipped through the light world of the heaviness of Current beings, always ready for evanescence.
When Scottie discovers the deception, her reaction is rage. It is clear that, in those moments of terrible disappointment, he cannot love that woman, no matter how Burda reality, mean, who cannot soften Judi when he tells him that he loves him, that he loved him. The magic is over, but Scottie could still be hopeful, that, after that irredimible frustration, she would be able to adjust to a saving compliance and be able to love that new woman in the real consistency of herself. We will never know if that would be possible. @Mundiario
(Tagstotranslate) Cinema
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