Sexual Obsession In Alfred Hitchcock's Vertigo

Famously known as the “best movie of all time”, (6) Alfred Hitchcock’s Vertigo elicits a dumbfounded reaction to the first-time viewer. However, to the second, or third, or twentieth time viewer, Vertigo serves as one of Hitchcock’s most tantalizing films. A surprisingly shocking film, filled with purposeful editing, surreal sound production, and excellent acting, a cult following only makes sense to provide a testament to an almost flawless film. This obsession with the movie is a direct effect of the fascination of the main character, Scottie’s, sexual obsession. Film critics, such as Charles Barr, analyze Scottie’s sexual fascination through technical terms, such as the amount of point of view (POV) shots on female characters such as Madeleine

Barr fails in his book to expand upon artistic mise-en-scene decisions, and how these deliberate actions reflect and strengthen the obsessiveness so prominent in the film. However, color and hue, large thematic indicators, are apparent from the first opening shot. An extreme close up of a woman with a color of a deep, lusty red tinted lip immediately makes the audience associate the female with sexual lust and desire. Audiences see this continuation of a prominent red motif through the whole movie, beginning with the almost overpowering walls of Ernie’s, and the contrast of the walls of the restaurant to the green shawl that Madeleine wears over her shoulders. While others wear dull and muted colors, both Scottie and the audience realize the difference between Madeleine and the ensemble of people present. All focus lands on one woman, who unbeknownst to both her and Scottie, will fall prey to Scottie’s obsessive passion and desire. Ironically, red symbolizes a danger and warning that the audience and Scottie ignore immediately. Both audience members and Scottie disregard the outstanding message, wanting to pursue the passionate “thrill of the chase” of a beautiful platinum