The Guardian addresses initial criticisms of Vertigo - its slow pace, its modest camerawork - and argues those are actually part of its merit, stating that the film "is quietly, calmly efficient in establishing character, atmosphere, and uncertainty." Another early criticism claimed the film is overly complex without payoff, but a more recent evaluation from the New Yorker interprets it as an "audaciously intricate melodrama" that doubles as an "an allegory for own art of enticement." Fittingly for a film that deals with a fear of heights, Vertigo took time reaching its lofty critical perch - but there's no denying it's deserved.Ĭary Grant plays U.S. On the case, Scottie soon becomes obsessed with Madeleine - and another woman, Judy Barton (also played by Novak). Scottie's acquaintance Gavin Elster (Tom Elmore) hires him as a private investigator to follow Gavin's wife Madeleine (Kim Novak). Vertigo presents the character of John "Scottie" Ferguson (James Stewart), who has had to retire early from his position as a police detective due to an incident on the job that resulted in him developing acrophobia and vertigo.
Entertainment Weekly described the result of this process as "watching a photograph as it develops in the darkroom." Linklater and his cast all received significant praise for their roles in bringing this story to life - and the end result of this singularly patient filmmaking achievement is definitely well worth your time. The script began with a "structural blueprint" and the dialogue was written and revised along the way.Ĭritics across the board agree with the merit of this film's foundational ambition, of following the same actors for over a decade to bring out the most authenticity for the story. The plot points consist largely of seemingly mundane moments between Mason and his family, including his divorced parents, Olivia (Patricia Arquette, who won the Best Supporting Actress Oscar for the role) and Mason Sr.
Ellar Coltrane plays the film's protagonist, Mason, through the ages of six to 18. The film was shot over a 12-year span, beginning in 2001, in order to depict a hyper-realistic portrayal of growing up. The New York Times lauded its utilization of the "boorish but fascinating pastime of peeking into other people's homes" as a "tense and exciting exercise." Whatever gets your pick for the strongest element of the film - whether it's the direction, the writing, or the acting - the verdict is clear: Rear Window is a must-see. Hitchcock, never forgets that what people want most is a spine-chilling climax." Along with Hitchcock, the script (written by John Michael Hayes) receives its fair share of admiration. Most of this film's acclaim goes directly to Hitchcock, who is praised for his ability to make the viewer feel "titillated, horrified, and, ultimately, purged." At the time of Rear Window's premiere in 1954, the Boston Globe wrote "The story is told with tricks and intricate technique, but the mystery magician, Mr. Jeff decides to attempt to solve the crime himself, with help from his girlfriend Lisa (Gracy Kelly) and his nurse Stella (Thelma Ritter),
To pass the time he watches his neighbors, leading him to see what he believes to be a murder. "Jeff" Jefferies (James Stewart), a newspaper photographer laid up with a broken leg. One of acclaimed filmmaker Alfred Hitchcock's dozens of directorial credits, Rear Window follows L.B.
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