The past Monday our companion Ignacio Bernal participated next to Fernando Sesma in an interesting chat colloquy in the cineforum of Fnac Saragossa after the projection of Vertigo of Alfred Hitchcock.
One of the best films of the history of the cinema
A film that in spite of undergoing bad critics at the time, (and being a failure from ticket office) nowadays are considered one of the best films of the history of the cinema, and that Fernando and Ignacio shelled of very interesting form and entertainment in the communication, discovering to us the mysteries of the production and the intrincate allegories, symbolisms and metaphors that Hitckcock wove after one pretend history of detectives, that nevertheless hides multitude of psychological readings on sex and the death.
The obsession of a man by a ghost, which desire becomes something horrible.
A film that seems to be formed by two different films: the first part in which Scottie knows Madeleine through Gavin and loses it tragically. And one second part that narrates the sickly obsession of Scottie, always with the death persecuting to him. It films round, where everything is thought to the millimeter and nothing is accidental, where everything what we see has a meaning.
These are some of the symbolisms of the film:
Nietche with the eternal return (the spiral) and Suprahombre incarnated in Gavin Elster (Tom Helmore)
Freud with the Obsession and the paranoia of Scottie (James Stewart), the double identity of Madeleine (Kim Novak).
Aesthetic allegories to pictorial works of the history of the art, to the prerrafaelitas (ofelia died: Kim Novak in the bay of San Francisco), Edward Hopper, Rodin, Magritte¦
Reflection of the Literature based on the transformation of something unreal in something real, something dead in something alive (Oval Picture of Poe, Dorian Grey, Pinocho, My Fair Lady, Laura, the woman of the Picture, DALI and Galarina, Wheelbarrow)
Inspiration in classic and medieval mythologies, with references a:
Pigmalion and Galatea: The search by the possession of something.
Castor and Polux: The Double Identity reflected in Madeleine/Carlota/Judy, a subject appellant in the filmographies of Hitchcock (also apatece in Cardigan, Psychosis, With the death in the Heels, Marnie the thief)
Orfeo and Euridice: As Scottie brings Madeleine of the world of the dead
Tristan and Isolda: the lovers united in the death, the filter of love, the forest¦
The symbolism of the colors
The red one: the passion and desire
The green one: The ghostly thing, the death
The target and the black and the gray: the fog, the mysterious thing
We hope that if you had not seen the film enters curiosity to you by her (although we have been a little spoilers), and if you already know it, that the analysis of our companion Ignacio Bernal has helped to understand some things you that contribute to a new perspective the next time to you that you see it.
Thanks to all, health and much cinema!