Okay, this was
definitely not the right movie to watch late at night, when I still had to go
out into the dark to fetch my laundry. I haven't seen much of Hitchcock's
work, but I'm convinced that even without the new modern movie effects, his
master understanding of the underlying human psychosis is more terrifying than
any Hollywood monster or high budget special effects.
I was completely
taken with John Ferguson's (Jimmy Stewart) psychological journey as he went
slowly insane. And though I know logically why Judy (Kim Novak) allowed
herself to be changed to fit the model of Stewart's dead lover, watching each
step as she allowed Stewart to create mold her into the "perfect
woman" made my skin crawl with ever last step. Especially in an age
when society bombards us with images of "perfection," Novak's
submission to being changed from curvy brunette to thin and blond shows
that the struggle against stereotypes of beauty was just as prevalent then as
it is now. This particular theme reminds me of Barbet Schroader's 1992
film, "Single White Female" where the new roommate changes her
appearance so completely that the audience feels like they are looking at
twins. There is something very disturbing in seeing that type of
transformation take place before your eyes.
Hitchcock weaves in
personal point of view with the narrative story, using abstract images show
the development of Stewart's internal psychosis, and allowing the audience to
feel a little of what Stewart is feeling. As a whole, the movie itself is
based in circles and spirals, from the beginning close up of the woman's eye,
transitioning into the spiral and back to the eye; the spiral staircase that
was the symbol of Stewart's vertigo; and even the circular plot: beginning with
the story of Carlotta, played out by the later to be found out fake wife
(Novak), and then played out third time when Stewart discovers his new lover's
secret. Three times, three deaths, round and round.
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