Seed Sower Series: Love and Madness in Film and Literature

Susan Smith Nash, Ph.D.

Dean William O. Ray, Ph.D.

Section I: The facts about this film

Name of Film: Vertigo

Name of Director / Year: Alfred Hitchcock (1958)

Names of Main Characters / Actors who play them:

1. Scottie (James Stewart)

2. Madeleine Elster (Kim Novak)

3. Judy Barton (Kim Novak)

4. Midge Wood (Barbara Bel Geddes)

Section II: How is this film about love and madness?

Who are the individuals who exhibit love and/or madness? Describe.

Scottie – after his accident

Gavin – wants to have his wife killed, but have the “protector” (Scottie) witness to the “suicide”

Possession // Suicided – Madeleine (Carlotta reincarnated?)

Does this film involve any or all of the following?

Healthy love: perhaps – Midge and Scottie (long ago, and for only three weeks – the duration of their engagement)

Unhealthy love: Scottie / Madeleine and Judy / Scottie

Madness or love in an individual: Scottie

Madness or love in a relationship: Scottie / Judy Barton : Gavin / Madeleine

Madness or love in a community:

Section III: How does the film illustrate the love and/or madness?

Where does this film take place? What is the general atmosphere?

SETTING
1.  Madness
-- bell tower
-- vertigo scenes -- hanging from the roof
-- stalking / pursuing
-- in the fitting room // hair salon (the transformation "Dr. Frankenstein" scenes)
-- Carlotta & the idea of possession (theme that repeats with the idea that Jimmy Stewart's character is possessed)

2. Love
-- shots of the romantic city
-- dinner & gift-giving
-- obsessive love of Carlotta // the mystery (and idea of “possession”) – is love a kind of possession?

-- “exotic” – Spanish history // mission // Carlotta

How are the characters portrayed? What are they wearing? How is their general appearance? Hair? Make-up? Demeanor? Lots of close-ups? Two-shots with other characters?

Judy’s transformation into Madeleine is a very disturbing scene – echoes of other themes (identity construction but against one’s will, as a Dr. Frankenstein; or, the theme of reincarnation played out (Carlota Valdes => Madeleine; Judy => Madeleine)

Love, for a woman is suicidal:

Judy: I was safe when you found me. There was nothing that you could prove. When I saw you again, I couldn't run away. I loved you so. I walked into danger, let you change me because I loved you and I wanted you. Oh, Scottie, oh Scottie please. You love me. Please keep me safe, please...
Scottie: It's too late. It's too late. [These words are an echo of a few of Madeleine's final words.] There's no bringing her back.

Use of profiles: Debate possible uses and meanings of use of profiles here, esp. since identity is in question (mug shot echoes?)

How do camera angles and the general cinematography reinforce love and/or madness? Point of view shots? Panning shots? Jump cuts? Quick cuts? Lighting? Describe three specific scenes that illustrate this.

1)  the camera (the way it hangs on Madeleine’s face) replicates Scottie’s obsessiveness & possibly delusion... the character of Novak is filmed in a way that the characterization reflects Stewart's view

2)  lots of tight two-shots that show Scottie engulfing, encircling, overwhelming Judy – the suggestion is that his love obsession has turned into rage at being duped, yet helpless obsession, and a need to deconstruct, the reconstruct identity