In this section of our Colossus Movie Guide for Vertigo, we talk about themes that help us understand the film.
Cast
- James Stewart – John “Scottie” Ferguson
- Kim Novak – Judy Barton / Madeleine Elster
- Tom Helmore – Gavin Elster
- Barbara Bel Geddes – Marjorie “Midge” Wood
- Henry Jones – the coroner
- Raymond Bailey – Scottie’s doctor
- Ellen Corby – manager of McKittrick Hotel
- Konstantin Shayne – Pop Leibel
- Alec Coppel – Writer
- Samuel Taylor – Writer
- Alfred Hitchcock – Director
The themes and meaning of Vertigo
The layers of obsession
One of the most striking themes in Vertigo is obsession, which is illustrated primarily through the character of Scottie, who falls into a vortex of fixation with Madeleine and, subsequently, Judy. His obsession is a central element of the narrative and directly links to his emotional and psychological vertigo.
The objectification of our obsessions
Scottie’s obsession begins as a curiosity about Madeleine’s peculiar behavior and quickly spirals into a fixation that begins to dominate his life. He starts following her around San Francisco, monitoring her every move, and subconsciously starts molding his life around her. After Madeleine’s apparent death, Scottie’s obsession deepens as he is driven to the brink of insanity, haunted by images of her. The “vertigo” of his obsession renders him incapable of distinguishing between the image of Madeleine he fell in love with and the reality of who she was.
When Scottie encounters Judy, his obsession takes on a new form. Recognizing in her a resemblance to Madeleine, he is determined to recreate the dead woman’s image in Judy. He imposes his desires and memories of Madeleine onto Judy, indicating the transformation of his obsession into a harmful force that erodes Judy’s individuality. This highlights a deeper aspect of the theme of obsession: the objectification of the subject of obsession. Judy, in Scottie’s eyes, becomes merely a vessel to fill with his memories of Madeleine, showing how obsession can rob a person of their identity.
The destructive force of obsession
Judy’s tragic death at the end of Vertigo is a direct result of the destructive force of obsession, a theme that pervades the film. Her demise, precipitated by Scottie’s obsessive pursuit of a lost love, serves as a stark reminder of the deadly consequences of unchecked fixation.
In the climactic scene at the mission, when Scottie forces Judy to relive the trauma of Madeleine’s death, we see the full impact of his obsession. Judy is terrified, not just of the physical height, but also of Scottie’s intense, unyielding fixation. His obsession has reached its breaking point, pushing Judy to the brink.
When a shadowy figure (a nun from the mission) emerges from the darkness, Judy recoils in fear and accidentally falls to her death from the bell tower. The sudden appearance of the figure triggers her panic, but it is the relentless pressure of Scottie’s obsession that drives her to the edge, both literally and metaphorically. The unyielding force of his fixation creates an environment of fear and tension that ultimately leads to Judy’s tragic fall.
Judy’s surrender to Scottie’s obsession leads to her ultimate demise. She allows herself to be molded into the image of another woman, erasing her own identity in the process. In a sense, she was dead even before she fell.
How manipulation defines our identities
Vertigo explores the theme of identity and manipulation extensively, primarily through the character of Judy, who is forced to adopt a new persona to enact Gavin Elster’s plot. The exploration of this theme raises questions about the nature of identity, the impact of external influences, and the destructive consequences of manipulation.
The nature of identity
The theme of identity and manipulation in Vertigo is integral to the plot, with the concept of identity being dissected, altered, and reconstructed throughout the narrative. This theme primarily manifests through the characters of Madeleine/Judy and Scottie, illuminating the complex interplay between personal identity, perceived identity, and manipulated identity.
In Vertigo, identity is depicted as fluid and malleable. Judy Barton, the real individual, is manipulated to become Madeleine Elster, the object of Scottie’s obsessive desire. This act of transformation is not just physical but also emotional and psychological, causing Judy to oscillate between her real self and the identity thrust upon her. Here, Judy’s identity is portrayed as a construct, shaped and reshaped to meet the demands of external forces.
Scottie, entranced by the allure of the mysterious Madeleine, becomes the orchestrator of Judy’s second transformation. Unknowingly, he manipulates Judy into becoming the image of Madeleine, the woman he believed he loved and lost. Scottie’s need to reclaim his lost love leads him to overlook Judy’s real identity, indicating how obsession can manipulate one’s perception of another’s identity.
The impact of external influences
This theme of identity and manipulation is not just central to the plot but also serves to critique societal norms and expectations. Madeleine, the quintessential “perfect woman” as envisioned by Scottie, is a reflection of the societal ideals of femininity. Judy’s transformation into Madeleine can be interpreted as a critique of societal pressures that mold women into desired archetypes.
The recurring manipulations of Judy’s identity also bring forth the implications of power dynamics in relationships. Scottie, driven by his obsession, exerts control over Judy, dictating her appearance and behavior to match his desired image of Madeleine. This power dynamic strips Judy of her agency, forcing her to surrender her identity to Scottie’s manipulations.
On a broader scale, Vertigo presents a philosophical exploration of identity. The film ponders the question: What defines a person’s identity? Is it their true self, as represented by Judy? Or is it the persona they project or are forced to adopt, as demonstrated by Judy’s transformation into Madeleine? Vertigo offers no clear answers, leaving the viewer to contemplate the nature of identity.
The consequences of manipulation
Manipulation in Vertigo serves as the driving force behind the plot and carries significant consequences for the characters, ultimately leading to a tragic end. The manipulation not only impacts the lives of the individuals involved but also shapes the narrative’s tone, pacing, and thematic development.
The most apparent consequence of manipulation in the film is Judy’s tragic demise. As discussed earlier, Judy’s identity is manipulated twice, first by Gavin and then by Scottie. This manipulation puts her on a path that eventually leads to her death. Judy’s life is tragically shaped by the desires and machinations of others, highlighting the destructive potential of manipulation. Her death is a grim reminder of how manipulation can strip an individual of their agency and selfhood, leading to fatal consequences.
Scottie, the primary subject of Gavin’s manipulation and the instigator of Judy’s transformation, also faces drastic consequences. Gavin’s plot manipulates him into falling in love with a woman who doesn’t exist. When Scottie realizes the truth, it shatters his reality, pushing him to the brink of madness. The manipulation he experienced leads to a debilitating mental breakdown, showcasing the psychological toll manipulation can exact.
Beyond the direct consequences on the characters, manipulation in Vertigo also significantly influences the audience’s perception and understanding of the narrative. The audience, much like Scottie, is manipulated by the storyline. The film leads viewers to believe in Madeleine’s existence, her apparent possession, and her tragic demise, only to later reveal it as a staged plot. This narrative manipulation engenders a sense of suspense and unease, aligning the audience’s emotional journey with Scottie’s and enhancing the cinematic experience.
The manipulation in Vertigo facilitates a profound exploration of the film’s core themes. Through the consequences it brings upon the characters, manipulation allows for a deeper examination of obsession, identity, and the boundary between reality and illusion. This theme forms the backbone of the narrative and imbues it with psychological depth and complexity.
The fine line between reality and illusion
The distinction between reality and illusion is a critical theme in Vertigo, employed to build suspense and engross the audience in the narrative’s psychological depth. This theme is intertwined with the themes of obsession and manipulation and contributes to the sense of vertigo experienced by both Scottie and the audience.
From the outset, Vertigo plays with perceptions of reality. Scottie is deceived into believing that Madeleine is possessed by a spirit when, in reality, he is being manipulated as part of Gavin’s scheme. This initial deception blends the line between the real and the supernatural and sets the stage for the greater deceptions to follow. Even after Madeleine’s apparent death, Scottie’s obsession causes him to see her everywhere, further blurring the boundary between reality and illusion.
The theme takes a darker turn when Scottie meets Judy. His obsession and inability to let go of his past love result in a desperate attempt to mould Judy into Madeleine, causing Judy’s real identity to dissolve into the illusion of Madeleine. Scottie’s perception of reality becomes so distorted by his fixation that he is unable to see Judy as a separate individual, showing the devastating psychological effects of obsession and the thin line between reality and illusion.
The culmination of this theme occurs in the final revelation of Gavin’s manipulation and Judy’s true identity. Here, reality brutally intrudes, shattering the illusion that Scottie—and by extension, the audience—has been led to believe. The revelation not only shocks Scottie out of his delusion but also forces the audience to reassess the narrative from a new perspective, highlighting the compelling interplay between reality and illusion in Vertigo.
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