#HitchcockVertigo60
Alfred Hitchcock's 'Vertigo' was released, sixty years ago,
on May 9 1958
मी 'व्हर्टिगो', १९५८ मुंबईच्या आलिशान स्टर्लिंग सिनेमात १९८५-८६ च्या सुमारास पहिल्यांदा बघितला आणि भारावून गेलो. त्या सिनेमातील काय नाही आवडल? अगदी सॅनफ्रान्सिस्कोच्या सुद्धा प्रेमात पडलो. किम नोवॅक तर बरेच दिवस डोक्यातून गेल्याच नाहीत- कित्येक महिन्यांनंतर समजले की त्यांनी पूर्ण सिनेमात ब्रेसीयर घातली नाहीये ते!.....
त्यानंतर 'व्हर्टिगो' इतक्या वेळा पहिला की आता बघून, बघून पाठ झाला आहे. अलीकडे मला स्वतःला व्हर्टिगोचा त्रास झाल्यानंतर तर जिम स्टीवर्ट यांचा अभिनय आता अगदी आतपर्यंत पोचतोय.
'सिटीझन केन' ला मागे टाकून व्हर्टिगो अलीकडे पहिल्या क्रमांकाला चढला आहे. (माझ्या यादीत टोकियो स्टोरी हा, मी तो पाहिल्या दिवसापासून, एक नंबरला आहे.)
David Thomson, LRB, June 2018:
"...Novak was a rarity, the shy knockout, a beauty who had no confidence. Her voice was hushed. There was a faraway look in her eyes. She was a ravishing blonde, but seemed uneasy being photographed or even seen. She was anxious to be respected (she had once been Miss Deepfreeze), and it was rumoured that she was the favoured project of Harry Cohn, the head of Columbia, the studio that signed her up in 1954. There were whispers that she couldn’t act; she was a restrained version of Marilyn Monroe early in her career, the kind of actress who was cast as a voyeur’s delight but seldom trusted with a serious part. Instead, she got the socialite wife in The Eddy Duchin Story. She was actually loaned out for Vertigo. Cohn profited hugely on her salary. She was being exploited in the standard Hollywood way while being asked to fit into a male dream...."
François Truffaut:
“...The whole erotic aspect of the picture is fascinating. I remember another scene, at the beginning, when Stewart hauled Kim Novak out of the water. He takes her to his place, where we find her asleep in his bed. As she gradually comes to, there's an implication, though it's not specifically stated, that he's probably taken the girl's clothes off and has seen her in the nude. The rest of that scene is superb, as Kim Novak walks around with her toes sticking out of his bathrobe and then settles down by the fire, with Stewart pacing back and forth behind' her. Vertigo unfolds at a deliberate pace, with a contemplative rhythm that contrasts sharply with your other pictures, which are mostly based on swift motion and sudden transitions...”
“...The whole erotic aspect of the picture is fascinating. I remember another scene, at the beginning, when Stewart hauled Kim Novak out of the water. He takes her to his place, where we find her asleep in his bed. As she gradually comes to, there's an implication, though it's not specifically stated, that he's probably taken the girl's clothes off and has seen her in the nude. The rest of that scene is superb, as Kim Novak walks around with her toes sticking out of his bathrobe and then settles down by the fire, with Stewart pacing back and forth behind' her. Vertigo unfolds at a deliberate pace, with a contemplative rhythm that contrasts sharply with your other pictures, which are mostly based on swift motion and sudden transitions...”
David Thomson, The New Biographical Dictionary of Film:
Sixth Edition:
“…I found Orson Welles saying, “I believe that the movies—I’ll say a terrible thing—have never gone beyond Kane. That doesn’t mean that there haven’t been good movies, or great movies. But everything has been done now in movies, to the point of fatigue.”
“…I found Orson Welles saying, “I believe that the movies—I’ll say a terrible thing—have never gone beyond Kane. That doesn’t mean that there haven’t been good movies, or great movies. But everything has been done now in movies, to the point of fatigue.”
Now, we may wonder just how pained Welles was by that
vision. But in the recent “stir” that replaced Kane as the best film ever
made—with Vertigo—his point was hard to escape. Vertigo is so much more old-fashioned
than Kane, so clammy with self-pity, and so desperate to be sincere and
significant. Those were never Hitchcock’s strengths, or things Welles bothered
with. It’s not that film has stopped, or died, but it has not advanced like the
sensation it was in its first fifty years. The realization that F may be for
fake, and film, grows on us.,,,”
आता माझी मी हे पोस्टर पाहण्याच्या आधीची, मार्च १६ २०१६ची पोस्ट पहा.
आता वाटतय ह्या पोस्टरचा प्रभाव तर श्याम जोशींच्या खालील चित्रावर नव्हता?
