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Mehr dazu. Jetzt auf Netflix Rat Pack. Jetzt auf DVD und als Download erhältlich! Jetzt erhältlich! When he received news of this, Paramount head Barney Balaban was very vocal about the edits and ordered Hitchcock to "Put the picture back the way it was.
There were three screenwriters involved in the writing of Vertigo. Hitchcock originally hired playwright Maxwell Anderson to write a screenplay, but rejected his work, which was titled Darkling, I Listen, a quotation from Keats's Ode to a Nightingale.
According to Charles Barr in his monograph dedicated to Vertigo , "Anderson was the oldest at 68 [of the 3 writers involved], the most celebrated for his stage work and the least committed to cinema, though he had a joint script credit for Hitchcock's preceding film The Wrong Man.
He worked on adapting the novel during Hitchcock's absence abroad, and submitted a treatment in September A second version, written by Alec Coppel , again left the director dissatisfied.
Taylor —who was recommended to Hitchcock due to his knowledge of San Francisco—  from notes by Hitchcock. Among Taylor's creations was the character of Midge.
Vera Miles , who was under personal contract to Hitchcock and had appeared on both his television show and in his film The Wrong Man , was originally scheduled to play Madeleine.
She modeled for an early version of the painting featured in the film. By the time Novak had tied up prior film commitments and a vacation promised by Columbia Pictures , the studio that held her contract, Miles had given birth and was available for the film.
Hitchcock proceeded with Novak, nevertheless. Vertigo was filmed from September to December In the driving scenes shot in the city, the main characters' cars are almost always pictured heading down the city's steeply inclined streets.
Such a tour is featured in a subsection of Chris Marker 's documentary montage Sans Soleil. Associate producer Herbert Coleman's daughter Judy Lanini suggested the mission to Hitchcock as a filming location.
A steeple, added sometime after the mission's original construction and secularization, had been demolished following a fire, so Hitchcock added a bell tower using scale models, matte paintings , and trick photography at the Paramount studio in Los Angeles.
The tower's staircase was later assembled inside a studio. Following 16 days of location shooting, the production moved to Paramount's studios in Hollywood for two months of filming.
Once sufficient location footage had been obtained, interior sets were designed and constructed in the studio. Hitchcock popularized the dolly zoom in this film, leading to the technique's sobriquet, amongst several others, "the Vertigo effect".
The rotating patterns in the title sequence were done by John Whitney , who used a mechanical computer called the M5 gun director , AKA the Kerrison Predictor , which was used during World War II to aim anti-aircraft cannons at moving targets.
This made it possible to produce an animated version of shapes known as Lissajous curves based on graphs of parametric equations by mathematician Jules Lissajous.
Hitchcock and costume designer Edith Head used color to heighten emotion. Midge switches the radio off when Scottie enters the room.
They then share a drink and look out of the window in silence. Contrary to reports that this scene was filmed to meet foreign censorship needs,  this tag ending had originally been demanded by Geoffrey Shurlock of the U.
Production Code Administration , who had noted: "It will, of course, be most important that the indication that Elster will be brought back for trial is sufficiently emphasized.
Hitchcock finally succeeded in fending off most of Shurlock's demands which included toning down erotic allusions and had the alternative ending dropped.
The score was written by Bernard Herrmann. It was conducted by Muir Mathieson and recorded in Europe because there was a musicians' strike in the U.
Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again And the music is also built around spirals and circles, fulfilment and despair.
Graphic designer Saul Bass used spiral motifs in both the title sequence and the movie poster, emphasizing what the documentary Obsessed with Vertigo calls, " Vertigo ' s psychological vortex".
In October , Rear Window and Vertigo were the first two films re-released by Hitchcock's estate after his death. In , the film was given a lengthy and controversial restoration by Robert A.
Harris and James C. Katz and re-released to theaters. The new print featured restored color and newly created audio, using modern sound effects mixed in DTS digital surround sound.
At this screening, the film was exhibited for the first time in DTS and 70mm , a format with a similar frame size to the VistaVision system in which it was originally shot.
When restoring the sound, Harris and Katz wanted to stay as close as possible to the original, and had access to the original music recordings that had been stored in the vaults at Paramount.
However, as the project demanded a new 6-channel DTS stereo soundtrack , it was necessary to re-record some sound effects using the Foley process.
Aware that the film had a considerable following, the restoration team knew that they were under particular pressure to restore the film as accurately as possible.
To achieve this, they used Hitchcock's original dubbing notes for guidance of how the director wanted the film to sound in In , director Harrison Engle produced a documentary about the making of Hitchcock's classic, Obsessed with Vertigo.
Surviving members of the cast and crew participated, along with Martin Scorsese and Patricia Hitchcock. Vertigo was first released on DVD in March Some of the home video releases also carry the original mono audio track.
Significant color correction was necessary because of the fading of original Technicolor negatives. In some cases a new negative was created from the silver separation masters, but in many instances this was impossible because of differential separation shrinkage, and because the separations were poorly made.
Separations used three individual films: one for each of the primary colors. In the case of Vertigo , these had shrunk in different and erratic proportions, making re-alignment impossible.
Although the results are not noticeable on viewing the film, some elements were as many as eight generations away from the original negative, in particular the entire "Judy's Apartment" sequence, which is perhaps the most pivotal sequence in the entire film.
When such large portions of re-creation become necessary, then the danger of artistic license by the restorers becomes an issue, and the restorers received some criticism for their re-creation of colors that allegedly did not honor the director's and cinematographer's intentions.
The restoration team argued that they did research on the colors used in the original locations, cars, wardrobe, and skin tones.
One breakthrough moment came when the Ford Motor Company supplied a well-preserved green paint sample for a car used in the film.
As the use of the color green in the film has artistic importance, matching a shade of green was a stroke of luck for restoration and provided a reference shade.
This version gives credit to Harris and Katz at the end of the film, and thanks them for providing some previously unknown stereo soundtracks.
This version, however, removes some of the "excessive" Foley sound that was added in the restoration. The initial reception expressed in film reviews for Vertigo was mixed.
Variety wrote the film showed Hitchcock's "mastery", but was too long and slow for "what is basically only a psychological murder mystery".
Coe of The Washington Post praised the film as a "wonderful weirdie," writing that "Hitchcock has even more fun than usual with trick angles, floor shots and striking use of color.
More than once he gives us critical scenes in long shots establishing how he's going to get away with a couple of story tricks. Contemporaneous response in England was summarized by Charles Barr in his monograph on Vertigo stating: "In England, the reception was if anything rather less friendly.
Of the 28 newspaper and magazine reviews that I have looked at, six are, with reservations, favourable, nine are very mixed, and 13 almost wholly negative.
Common to all of these reviews is a lack of sympathy with the basic structure and drive of the picture.
Even the friendlier ones single out for praise elements that seem, from today's perspective, to be marginal virtues and incidental pleasures — the 'vitality' of the supporting performances Dilys Powell in The Sunday Times , the slickness with which the car sequences are put together Isobel Quibley in The Spectator ".
Additional reasons for the mixed response initially were that Hitchcock fans were not pleased with his departure from the romantic-thriller territory of earlier films, and that the mystery was solved with one-third of the film left to go.
Over time the film has been re-evaluated by film critics and has moved higher in esteem in most critics' opinions.
Only in did Vertigo enter the list, and then in 7th place. Commenting upon the results, the magazine's editor Nick James said that Vertigo was "the ultimate critics' film.
It is a dream-like film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul-mate.
Dan Auiler has suggested that the real beginning of Vertigo ' s rise in adulation was the British-Canadian scholar Robin Wood 's Hitchcock's Films , which calls the film "Hitchcock's masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us".
Adding to its mystique was the fact that Vertigo was one of five Hitchcock-owned films removed from circulation in When Vertigo was re-released in theaters in October , and then on home video in October , it achieved an impressive commercial success and laudatory reviews.
A small minority of critics have expressed dissenting opinions. In his book Blockbuster , British film critic Tom Shone suggested that Vertigo ' s critical re-evaluation has led to excessive praise, and argued for a more measured response.
In , Vertigo was recognized as a "culturally, historically and aesthetically significant" film by the United States Library of Congress and selected for preservation in the National Film Registry in the first year of the registry's voting.
The most recent edition of the American Film Institute 's top films of all-time, released in , placed Vertigo at 9 up 52 positions from its placement at 61 in the original listing.
American Film Institute recognition. The San Francisco locations have become celebrated amongst the film's fans, with organised tours across the area.
Director Martin Scorsese has listed Vertigo as one of his favorite films of all time. Along with the renewed public appreciation of the movie, academic work has picked up.
The Annual International Vertigo conference has become something of a venue for recent scholarship.
The conference was held at Trinity College Dublin. From Wikipedia, the free encyclopedia. Theatrical release poster by Saul Bass.
Alec Coppel Samuel Taylor. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. Main article: Vertigo film score. Film portal United States portal s portal.
Box Office Mojo. Retrieved September 2, BBC News. August 2, Retrieved August 18, American Film Institute.
Retrieved February 21, Los Angeles Times. Washington, D. September 19, Retrieved April 22, Library of Congress, Washington, D. Retrieved May 14, British Film Institute.
Page Alfred Hitchcock: Centenary Essays. London: BFI. The New York Times. July 5, Retrieved December 1, Reel SF. Retrieved March 8, Retrieved February 4, Curbed SF.
Haiyi Hotels. Jacobberger on; AM, at February 11, Inside Scoop SF. Retrieved September 4, The Obsessed with Vertigo DVD documentary says that the shot was achieved by "zooming forward and tracking backward simultaneously".
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This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Main article: Vertigo film score. Film portal United States portal s portal. Box Office Mojo. Retrieved September 2, BBC News. August 2, Retrieved August 18, American Film Institute.
Retrieved February 21, Los Angeles Times. Washington, D. September 19, Retrieved April 22, Library of Congress, Washington, D.
Retrieved May 14, British Film Institute. Page Alfred Hitchcock: Centenary Essays. London: BFI. The New York Times.
July 5, Retrieved December 1, Reel SF. Retrieved March 8, Retrieved February 4, Curbed SF. Haiyi Hotels.
Jacobberger on; AM, at February 11, Inside Scoop SF. Retrieved September 4, The Obsessed with Vertigo DVD documentary says that the shot was achieved by "zooming forward and tracking backward simultaneously".
Scarecrow Press. April 7, Retrieved April 25, Dan Auiler. Les Inrockuptibles. Archived from the original on July 11, Universal Pictures International.
The New York Times Company. Retrieved August 4, May 31, The Washington Post : C The New Yorker : The Chronicle of Higher Education. Biskind, Peter ed.
Metropolitan Books. NY Times. Retrieved December 23, Retrieved August 21, The Guardian. Retrieved August 24, Sonoma State University.
Archived from the original on June 15, Retrieved October 18, The Telegraph. Retrieved March 2, Retrieved July 4, Library of Congress.
January 13, Total Film. October 24, Archived from the original on January 23, Empire Magazine. January 1, Retrieved January 1, June 17, Retrieved June 18, Archived from the original on 26 December Retrieved 25 December Retrieved August 6, Hitchcock's Films.
Zwemmer Limited. The Village Voice. June 10, Retrieved May 10, Screen : October 9, — via Google Books. Sputnik Music. South Africa.
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