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VertigoWhile this is undoubtedly a great film, Vertigo is not without its problems. The director's love of theatrical effects, which permeates all of his work, is a particular case in point - the blue-screen stunt sequences not only fail to convince, but almost undercut the general atmosphere of suspense.
Almost, but not quite, since Vertigo does feature one truly outstanding special effect - and his name is James Stewart. While it's hard not to like his good-ol'-boy shtick in Harvey, you have to thank Hitchcock and Anthony Mann (The Naked Spur) for tapping Stewart's full range and, in doing so, taking him into the realm of the downright weird.
Indeed, Vertigo's John 'Scottie' Ferguson is a frantic, controlling man who couldn't have less in common with It's A Wonderful Life 's George Bailey. That Stewart still compels us to identify with this partly despicable character is reason enough that his work here should be appreciated with a sense of awe instead of the usual "Aw, shucks".
And while Hitchcock's trademark cameo irritates almost as much as his love of cinema's artifice, it's impossible not to be impressed with his handiwork. In coaxing the best work from Stewart and Novak, you understand why other directors regard the big man so highly. That he could take the preposterous conceit of a deceased woman and then utterly convince us of its validity makes it hard to believe that this marvellous, much-missed Englishman wasn't able to walk through walls.
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