Alfred Hitchcock Film Festival – Vertigo

Doused in lust and obsession, Vertigo remains one of cinema’s defining mystery films by revealing Hitchcock’s darkest fantasies.

Zachary Cruz-Tan

Vertigo is possibly the greatest of Alfred Hitchcock’s films because it succeeds at being an effective psychological thriller as well as a careful study of his filmmaking approach. In the movie, Scottie Ferguson (James Stewart) becomes obsessed with the woman of his dreams and shapes her into an object of his desires. Hitchcock was notorious for choosing blondes as his leading ladies; fetishizing them in objectifying costumes and ultimately humiliating them at the hands of controlling men. You could almost use Scottie as a reflection of Hitchcock’s fixation.

This dichotomy is perhaps the reason Vertigo remains so disturbing. In 2007, the American Film Institute ranked it as the best mystery movie, and in 2012, Sight & Sound magazine named it the best film of all time, just ahead of Citizen Kane. Why not Notorious? Or Rear Window? Or Psycho? Those were great films about horror and paranoia, but Vertigo is more in harmony with its director.

I won’t go over the plot. You either know it or you don’t, in which case its surprises are best left for you to discover. Vertigo, however, is less about plot and more about the imprisonment of its characters. Scottie’s obsession with Madeleine (Kim Novak) is an entrapment, and Madeleine’s subsequent love for Scottie binds her to a man who only thinks he shares the same feelings. Both characters tumble ever downward into loneliness and despair, and Scottie, who spends the entire film trying to overcome his irrational fear of heights, succeeds at the cost of his twisted fantasy.

If it sounds like a dour, unforgiving tragedy, it is, but Hitchcock is a master of his tools, and in Vertigo he manages to strike intrigue, while Stewart’s subversive, edgy performance makes Scottie a thoroughly captivating individual. Stewart was known for playing the implausible hero – like L.B. Jefferies in Rear Window – but in Vertigo he is transformed. He still retains much of his natural charisma, but it’s sullener, tuned down, toned up. He creeps into the picture as a man torn apart by himself, and he is absolutely fascinating to watch.

The female characters are, of course, victims of Hitchcock’s gaze. Both Madeleine and Midge (Scottie’s college friend, played by Barbara Bel Geddes) subject themselves to humiliation and demise, but by the time they realise it, the plot has twisted so tightly around itself that there is no escape for anybody. This magnificent play on lust, obsession and guilt is what gives Vertigo a backbone. A plot of games to last through the decades.

But the movie is also a technical marvel. It is perhaps most remembered for pioneering the “dolly zoom”, a camera technique in which the lens zooms in while the physical camera tracks back, creating the illusion of compressed space around an unchanging subject. It was a visual phenomenon popularised by Spielberg’s Jaws in 1976, used to highlight acute fear. In Vertigo, its use is more fundamental but no less effective; as Scottie stares down from great heights, the ground rushes up to greet him.

One of the great joys about Hitchcock’s oeuvre is that you’re never short of a masterpiece. Here is a director who made more than fifty films; around half of them observe humanity from behind a door of fear and mistaken identities. They’re always about more than what they’re about. Spellbound was more than just proving a man’s innocence. Notorious was more than just uncovering Nazi secrets. And Vertigo is certainly about more than a fear of heights. By uniting so many strands of his life into 120 minutes of personal agony, Hitchcock has crafted one of the most enduring films of all time.

You can catch Vertigo on the big screen at Windsor Cinema Monday 1 August & Sunday 7 August

Image courtesy of Paramount Pictures

Quick Picks – Revelation Perth International Film Festival – Feature Films

What Lola Wants

Fast, fun, and ferocious – What Lola Wants may just be Revelation Perth International Film Festival 2015’s boldest and brightest feature.

⭐ ⭐ ⭐ ⭐ ½
Review by Tom Munday

Sophie Lowe in What Lola Wants

Sophie Lowe in What Lola Wants

Celebrity teenager Lola Franklin (Sophie Lowe) has run away from her Beverley Hills lifestyle into the wild, wild west. Believing she has been kidnapped, her parents stamp down a $1 million reward for her safe return. Lola meets rebellious, pickpocketing loner Marlo (Beau Knapp) in a diner, convinced he is the man of her dreams. Marlo, being hunted by Mama (Dale Dickey), is already neck-deep in trouble. The destructive duo heads out on the road, taking down anyone in his or her path. But which reward will Marlo choose – the girl or the money?

What Lola Wants is one of the biggest surprises of 2015. This crime-thriller is the pitch-perfect example of less is more – relying on character and tone over anything else. Australian writer/director Rupert Glasson injects his frenzying style onto every page and frame. Attributing to Quentin Tarantino and Sam Peckinpah, every plot-point, twist, and line of dialogue is drenched in pulp and viscera. Told from its lead’s perspective, it’s tough, sexy atmosphere sparks a thrilling pace. Glasson’s latest venture harkens back to some of Hollywood’s biggest middle-finger thrillers like Natural Born Killers and Badlands.

Glasson’s hyperkinetic, frivolous visuals bolster What Lola Wants’ simple-yet-effective narrative. Its lurid cinematography flaunts the American Heartland’s glorious scenic vistas. In addition, its scintillating score pays tribute to the dark, disturbing heart of the western genre. Indeed, touches including an animated credits sequences and comic-book-esque scene transitions deliver multiple surprises. Most importantly, the performances take charge from the outset – with Lowe and Knapp’s chemistry establishing their significant talents.

Bolstered by style and substance, What Lola Wants has more brains, brawn, and heart than anything 2015’s big-budget slate has offered thus far.

Screening:
Sat 11th July, 6:45pm, Luna Leederville


Alvin’s Harmonious World of Opposites

 Alvin’s Harmonious World of Opposites, though not for the faint-hearted, is a unique and mind-altering experimental-drama/black-comedy.

⭐ ⭐ ⭐ ⭐
Review by Tom Munday 

Teik Kim Pok in Alvin’s Harmonious World Of Opposites

The plot of Alvin’s Harmonious World of Opposites is, inexplicably, more intricate and perplexing than its title. Alvin (Teik Kim Pok) has not left the confines of his one-bedroom apartment for over 18 months. The agoraphobic nobody lives only with bizarre collections of toy pandas, Prince Charles and Princess Diana memorabilia, and vintage flour containers. Human interactions include obnoxious neighbour Virginia (Vashti Hughes) and video chats with his boss Angela (Allis Logan). With work and home-life difficulties building up, Alvin becomes paranoid after brown ooze begins dripping through the ceiling.

Writer/director Platon Theodoris’ feature debut is a unique and nightmarish examination of the Average Joe. His project meddles with several genres, concepts, and themes, with the first-two thirds highlighting the long-standing tedium of Alvin’s decaying existence. Sticking with Alvin inside his claustrophobic abode, the narrative’s repetitiveness and peculiarity illicit a unique physical, mental, and spiritual response. Similarly to David Lynch and David Cronenberg, Theodoris’ writing and directorial ticks put the audience on edge throughout its steady 73-minute run-time.

Alvin’s Harmonious World of Opposites’ final third becomes a Rubik’s cube-level obstacle course through awe-inspiring visuals and intricate ideas. Delving into Alvin’s baffling subconscious, Theodoris’ project switches valiantly from black comedy to existential angst. Scenic vistas and a stirring score establish the dramedy’s discussion of introspection, loneliness, and voyeurism. Pok, carrying every scene, conveys a bevvy of complex emotions with several key facial expressions.

This drama-thriller/black-comedy is a bizarre yet rewarding trip through Alvin’s dreamscape. Theodoris’ feature debut is set to be the “Did you get it?” flick of this year’s Revelation Perth International Film Festival.

Screenings:
Thurs 9th July 8:30pm – Cinema Paradiso
Sat 11th July 3:30pm – Luna Leederville


Plague

Here we go again…Plague is yet another exploration of the decisions we may be faced with if the world was to end in a zombie apocalypse.

⭐ ⭐
Review by Chantall Victor

Scene from Plague

Scene from Plague

Directed by Nick Kozakis and Kosta Ouzas, Australian film Plague aims to present itself as a horror film, but comes off as more of a psychological thriller – at least for the first 20 minutes. From then on it’s all downhill as sadly, the film meets its own death, and decays on the screen before the audience’s eyes for the remainder of its runtime.

Evie (Tegan Crowely) is stuck with a group of survivors in an Australian barn when she is confronted with the difficult decision of whether to stay and wait for her husband (Scott Marcus) – who may have been turned into a zombie – or go with the group in search of safety. Of course, true love abides, and she stays behind, only to encounter an unexpected guest.

I always look forward to an Australian made film because I believe the Australian industry has such potential, but unfortunately, this film will have to be an exception to my rule. Although visually pleasing — thanks to the make-up department, and cinematographer Tim Metherall — the film suffers from a lack of character development, and endless plot holes. At times the story becomes so unconvincing that it’s laughable — think the Australian version of Tommy Wiseau’s The Room – and so many elements are left unexplained. Overall, the aesthetics are just not enough to save this vague zombie flick.

Screening:
Sat 11th, 8:45pm – Luna Leederville


Images courtesy of Revelation Perth International Film Festival, Rupert Glasson, Big Name Studios & Burning Ships Productions