Thank you so much! So happy to have come by these recordings. I have the original book, Hitchcock/Truffaut (MY choice for the title as Truffault’s contribution questions/are easily 1/3 of the books enjoyment) which I devoured in the late 1970’s. I never dreamed the recordings were available. So cool! Before finding this recording today I viewed Vertigo twice and the first viewing I too saw a “hole in the story” regarding the chance of the murder being revealed with Stewart reaching the bell tower top. Then on the second viewing it struck me that the murderer acted in complete cold blood, with mere money, power, and freedom as motives. Surely, he was prepared to push Stewart out of the tower as well, if need be, to keep his murder hidden. Stewart would at best be greatly disoriented on reaching the top and a man who can break his wife’s neck in some unknown manner would think himself able to overpower the thin, mentally weakened Stewart enough to simply push him out the small, unprotected balcony after his wife’s body. He’s no longer a detective so there would be little fear of Stewart carrying a gun. A man falling inadvertently as he tries to save his suicidal lover would be utterly believable. After all, he’d already almost fallen to death in his police work. But since it took me 2 viewings to come to this, yeah, it’s perhaps a hole for the purposes of a film’s success.
She was right for that role. But it was reported back in the late 60's that she and Cock didn't get along during the making of Vertigo and at one point were communicating to each other through emissaries.
@@jimgarrison7340 Its been said he also blame Jimmy Stewart for the failure of Vertigo as he was too old for the role. Which is a lame excuse as he casted him for both Vertigo and Rear Windows. (In RW he was 46 and Grace Kelly was 25).
Vertigo is a masterpiece. As in Shadow of a Doubt, a gemstone becomes the central clue in the main character uncovering a web of deceit. The film was the ultimate tribute to San Francisco. Hitchcock's Catholicism played an important role in the film's second half. The nature of lust and what will come of it; not to mention the female character's treachery coming to haunt her in the end.
In terms of the Catholic guilt regarding lust and infatuation, I agree with this interpretation but there is nothing treacherous about Madeleine’s character at all. I think her death just reinforces Scottie’s guilt rooting back to the beginning of the film. The entire runtime of the film, Scottie is the one pursuing and advancing on Madeleine (not the private detective bits but the romance bits). It is stated and evidenced in the film several times that she genuinely fell in love with Scottie, and romantically manipulating him was not a part of the husband’s plan. And on the flip side, Madeleine is used as a tool by both the men (the husband for the murder and by Scottie for lust/recreating the image of his infatuation). I mean she’s literally reduced to being a mannequin in the famous kiss scene, and then she’s dragged to the tower after Scottie notices the necklace and loses his mind (in the book, he strangles her). And with her death, nothing is actually solved. The husband/murderer is never caught, and the cycle of guilt continues. Interestingly, hitchcock referred to Scottie’s obsession with her as like a necrophilliac obsessed with the dead/a ghost
@@m.j.8226 She is very treacherous. She embraced evil to trick a man who did her no harm. Her feelings change after they get together. Still, the treachery is present. She never admits how she tricked him. Her confession is forced by Stewart's character. In a way, the final scene is a precursor to The Exorcist; where she jumps to expel the evil inside after seeing the nun.
It is unfortunate that Vertigo was only considered a masterpiece in hindsight And also this is the second time in this interview series I’ve vehemently disagreed with Hitchcock about the casting choices … Kim Novak was amazing
The Wrong Man definitely is one of his best. I don't agree with Hitch's not defending it. It's quite a remarkable film. Probably his most different except for Family Plot, which is mainly tonally different.
I’m conflicted because at the beginning of this interview about vertigo he says “Kim Novak was terrible” but then at the end he acknowledges in agreement with Truffaut that she was “good for the picture” …. Confused….
I saw The Wrong Man last night and have to say I disagree with both Hitchcock and Truffaut, I think it's a wonderful film and one of Hitchcock's best IMO
Could the police have used worse ways of having witnesses identify a potential criminal than this case. You always have to separate witnesses when they are identifying a suspect. I can't believe New York City detectives could be this incompetent. Just for safety reasons you should never let a suspect go in to a store with victims that he has robbed.
Thank you so much! So happy to have come by these recordings. I have the original book, Hitchcock/Truffaut (MY choice for the title as Truffault’s contribution questions/are easily 1/3 of the books enjoyment) which I devoured in the late 1970’s. I never dreamed the recordings were available. So cool! Before finding this recording today I viewed Vertigo twice and the first viewing I too saw a “hole in the story” regarding the chance of the murder being revealed with Stewart reaching the bell tower top. Then on the second viewing it struck me that the murderer acted in complete cold blood, with mere money, power, and freedom as motives. Surely, he was prepared to push Stewart out of the tower as well, if need be, to keep his murder hidden. Stewart would at best be greatly disoriented on reaching the top and a man who can break his wife’s neck in some unknown manner would think himself able to overpower the thin, mentally weakened Stewart enough to simply push him out the small, unprotected balcony after his wife’s body. He’s no longer a detective so there would be little fear of Stewart carrying a gun. A man falling inadvertently as he tries to save his suicidal lover would be utterly believable. After all, he’d already almost fallen to death in his police work. But since it took me 2 viewings to come to this, yeah, it’s perhaps a hole for the purposes of a film’s success.
Artists are not always the most perceptive receivers of their own work ... in the case of Vertigo, Kim Novak was perfection in that film.
She was right for that role. But it was reported back in the late 60's that she and Cock didn't get along during the making of Vertigo and at one point were communicating to each other through emissaries.
@@jimgarrison7340 So she and Cock didn't get along, eh?
@@jimgarrison7340 Its been said he also blame Jimmy Stewart for the failure of Vertigo as he was too old for the role. Which is a lame excuse as he casted him for both Vertigo and Rear Windows. (In RW he was 46 and Grace Kelly was 25).
Vertigo is a masterpiece. As in Shadow of a Doubt, a gemstone becomes the central clue in the main character uncovering a web of deceit. The film was the ultimate tribute to San Francisco. Hitchcock's Catholicism played an important role in the film's second half. The nature of lust and what will come of it; not to mention the female character's treachery coming to haunt her in the end.
In terms of the Catholic guilt regarding lust and infatuation, I agree with this interpretation but there is nothing treacherous about Madeleine’s character at all. I think her death just reinforces Scottie’s guilt rooting back to the beginning of the film.
The entire runtime of the film, Scottie is the one pursuing and advancing on Madeleine (not the private detective bits but the romance bits). It is stated and evidenced in the film several times that she genuinely fell in love with Scottie, and romantically manipulating him was not a part of the husband’s plan. And on the flip side, Madeleine is used as a tool by both the men (the husband for the murder and by Scottie for lust/recreating the image of his infatuation). I mean she’s literally reduced to being a mannequin in the famous kiss scene, and then she’s dragged to the tower after Scottie notices the necklace and loses his mind (in the book, he strangles her). And with her death, nothing is actually solved. The husband/murderer is never caught, and the cycle of guilt continues.
Interestingly, hitchcock referred to Scottie’s obsession with her as like a necrophilliac obsessed with the dead/a ghost
@@m.j.8226 She is very treacherous. She embraced evil to trick a man who did her no harm. Her feelings change after they get together. Still, the treachery is present. She never admits how she tricked him. Her confession is forced by Stewart's character. In a way, the final scene is a precursor to The Exorcist; where she jumps to expel the evil inside after seeing the nun.
You can tell how heartbroken Hitchcock was over the failure of “Vertigo” at the time
Je vous vraiment remercie d'avoir coupé cette magnifique interview selon chaque film. Merci encore.
It is unfortunate that Vertigo was only considered a masterpiece in hindsight
And also this is the second time in this interview series I’ve vehemently disagreed with Hitchcock about the casting choices … Kim Novak was amazing
The Wrong Man definitely is one of his best. I don't agree with Hitch's not defending it. It's quite a remarkable film. Probably his most different except for Family Plot, which is mainly tonally different.
Truffaut misses so much that I really find that modern Hitchcock enthusiasts have left his views back in the dust.
Interesting that Truffaut didn’t like The Wrong Man. I think it’s great and underrated.
Agree. It's an excellent film.
Even though Hitch definitely liked the attention from Truffaut, he still couldn't help himself from trolling him a little bit.
Intruiging "hole in the story" which bothered Hitch.
29:20 ... We will now tell a story. Shut the machine ...
I’m conflicted because at the beginning of this interview about vertigo he says “Kim Novak was terrible” but then at the end he acknowledges in agreement with Truffaut that she was “good for the picture” …. Confused….
Hitch didn't like conflict. I seem to remember that it was reported back in the late 60's that Kim Novak rebelled against Hitchcock for some reason.
@@jimgarrison7340 I think the problem was that Novak had searvel ideas for the role and Hitch did not like that
I saw The Wrong Man last night and have to say I disagree with both Hitchcock and Truffaut, I think it's a wonderful film and one of Hitchcock's best IMO
Could the police have used worse ways of having witnesses identify a potential criminal than this case. You always have to separate witnesses when they are identifying a suspect.
I can't believe New York City detectives could be this incompetent. Just for safety reasons you should never let a suspect go in to a store with victims that he has robbed.