In the fall of 1983, "Vertigo" was re-released in theaters nationally as part of a package of five Alfred Hitchcock films that had been out of circulation for some years.
Now, it's back in theaters again, despite having been available on video for nearly 15 years. The occasion is the film's restoration to its 70mm format, and though it will play at the Avalon in 35mm, this new print has been adjusted so that the wide-screen scenery, rich colors and stereo sound are on display as Hitchcock originally intended.Suffice it to say that seeing "Vertigo" on the big screen - in whatever form - is a genuine thrill. This is one of Hitchcock's finest films, and it is often cited by national critics as being among the best cinematic achievements of all time.
My feelings about the film haven't really changed since my Deseret News review on Oct. 30, 1983, so here are some excerpts:
"Vertigo" is an incredibly mesmerizing movie experience. And the script spins what has to be one of the most convoluted tales ever filmed - so much so that it defies adequate description without giving away too many of its odd twists and turns.
The film opens with a heart-pounding sequence, as police detective John "Scottie" Ferguson (James Stewart) and a uniformed police officer chase a criminal across several rooftops. As a result of that experience, Ferguson develops the title condition and blacks out whenever he climbs any great (or not-so-great) height.
Eventually, he becomes involved with a beautiful society woman (Kim Novak), whose husband fears she is possessed by a suicidal spirit. Of course, Scottie falls in love with her, but tragedy separates them.
That carries you about halfway through the picture, and it's about as far as I'll go in terms of description. But, as is often the case with Hitchcock, things are not exactly as they seem, and Scottie (and the audience) is in for some shocks before the film is over.
What is most seductive is the way Hitchcock manages to say so much so subtly. Where other filmmakers might use a voice-over narration, Hitchcock merely moves his camera a few feet or zooms in on something in the scene, thereby telling us all we need to know. In fact, there are long sequences where nary a word is spoken, yet these are thoroughly involving, telling scenes.
Bernard Herrmann's eloquent score is among his finest, Stewart is excellent, as always, and Kim Novak is surprisingly effective in her role, another of Hitchcock's icy blondes.
Does "Vertigo" deserve its place up there with the best movies of all time? If you have any doubts, catch it this weekend at the Avalon.