You know, the thing I most dug about watching Vertigo was actually not something I could have only gotten from Vertigo, but rather something I could only have gotten from Vertigo from watching it with Visual Rhetoric eyes. It was this: in weird movies (my use of "weird" is intentionally and ironically pejorative) people are always doing things that don't make any sense.
In Vertigo, there is no good reason for Scottie to 1) follow Carlotta/the wife 2) follow her so closely 3) get so engrossed in her story 4) spurn Midge... (and speaking of Midge, there's no good goddamn reason for her to literally paint so unflatttering a portrait of herself).
BUT it's in these bizarre, only-happens-in-the-movies events that we find a lot of what we talk about in Viz Rhet- being total engrossed by an image, advanced identification due only to watching something, the curiosity an image provokes, the supernatural power of persuasion, etc. Hitchcock does this all the time, and it's fascinating that in the play of neurosis/psychosis and the image in things like Rebecca, Marnie, Psycho, Rear Window, and Vertigo that we not only see textbook cases of our field of study, but also come to forget that the events we're watching were, even at their starting, so unmoored from reality.
Submitted by magnoliafan on Tue, 2007-04-03 06:48.
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