History YMMV / Vertigo

5th Sep '17 4:54:07 PM ading
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* AwardSnub: ''Entertainment Weekly'' considers the failure to even nominate Creator/JimmyStewart for his performance as Scottie to be [[http://www.ew.com/ew/gallery/0,,20179544_20411971,00.html#20411802 the worst Oscar snub ever]]. Many tend to agree, although they would add that there are so many AwardSnub equally comparable. Of course, ''Vertigo'', and none of Hitchcock's films of the '50s for that matter, were seen as OscarBait in their day and Stewart likely never had a chance.

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* AwardSnub: ''Entertainment Weekly'' considers the failure to even nominate Creator/JimmyStewart for his performance as Scottie to be [[http://www.ew.com/ew/gallery/0,,20179544_20411971,00.html#20411802 the worst Oscar snub ever]]. Many tend to agree, although they would add that there are so many AwardSnub equally others which are comparable. Of course, ''Vertigo'', and none of Hitchcock's films of the '50s in general for that matter, were seen as OscarBait in their day and Stewart likely never had a chance.
16th Aug '17 12:34:27 PM KenKevinStriker
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* HypeBacklash: It's finally achieved the critical and cultural prestige and popularity to face this. Especially after the film unexpectedly dethroned ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll[[note]]Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, i.e, they had HypeAversion for Welles and now wanted [[CursedWithAwesome to pass the disease to a new carrier]]. Incidentally, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu, so it's not an unanimous choice[[/note]] It was a modest success (an AcclaimedFlop by fifties standards) in its time, and critically mixed, and more or less vanished off American screens for decades. It's only since TheNineties, that it enjoyed the critical reputation it now has. While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film isn't innovative on a technical level(With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect). It's pointed out that from the aesthetic-technological view, a Hollywood without ''Vertigo'' wouldn't differ a great deal, from the Hollywood we know today, as compared to ''Citizen Kane'' or ''Film/StarWars''. Among Hitchcock's enthusiasts, ''Psycho'', ''Rear Window'' or ''Rope'', for example, are considered more influential and well-executed movies. Alfred Hitchcock [[WordOfGod himself]] considere ''Shadow of the Doub'' as his best movie.

to:

* HypeBacklash: It's finally achieved the critical and cultural prestige and popularity to face this. Especially after the film unexpectedly dethroned ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll[[note]]Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, i.e, they had HypeAversion for Welles and now wanted [[CursedWithAwesome to pass the disease to a new carrier]]. Incidentally, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu, so it's not an unanimous choice[[/note]] It was a modest success (an AcclaimedFlop by fifties standards) in its time, and critically mixed, and more or less vanished off American screens for decades. It's only since TheNineties, that it enjoyed the critical reputation it now has. While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film isn't innovative on a technical level(With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect). It's pointed out that from the aesthetic-technological view, a Hollywood without ''Vertigo'' wouldn't differ a great deal, from the Hollywood we know today, as compared to ''Citizen Kane'' or ''Film/StarWars''. Among Hitchcock's enthusiasts, ''Psycho'', ''Rear Window'' or ''Rope'', for example, are considered more influential and well-executed movies. Alfred Hitchcock [[WordOfGod himself]] considere considered ''Shadow of the Doub'' A Doubt'' as his best movie.
9th Aug '17 3:18:51 PM jegriva
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* HypeBacklash: It's finally achieved the critical and cultural prestige and popularity to face this. Especially after the film unexpectedly dethroned ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll[[note]]Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, i.e, they had HypeAversion for Welles and now wanted [[CursedWithAwesome to pass the disease to a new carrier]]. Incidentally, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu, so it's not an unanimous choice[[/note]] It was a modest success (an AcclaimedFlop by fifties standards) in its time, and critically mixed, and more or less vanished off American screens for decades. It's only since TheNineties, that it enjoyed the critical reputation it now has. While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film isn't innovative on a technical level(With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect). It's pointed out that from the aesthetic-technological view, a Hollywood without ''Vertigo'' wouldn't differ a great deal, from the Hollywood we know today, as compared to ''Citizen Kane'' or ''Film/StarWars''.

to:

* HypeBacklash: It's finally achieved the critical and cultural prestige and popularity to face this. Especially after the film unexpectedly dethroned ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll[[note]]Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, i.e, they had HypeAversion for Welles and now wanted [[CursedWithAwesome to pass the disease to a new carrier]]. Incidentally, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu, so it's not an unanimous choice[[/note]] It was a modest success (an AcclaimedFlop by fifties standards) in its time, and critically mixed, and more or less vanished off American screens for decades. It's only since TheNineties, that it enjoyed the critical reputation it now has. While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film isn't innovative on a technical level(With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect). It's pointed out that from the aesthetic-technological view, a Hollywood without ''Vertigo'' wouldn't differ a great deal, from the Hollywood we know today, as compared to ''Citizen Kane'' or ''Film/StarWars''. Among Hitchcock's enthusiasts, ''Psycho'', ''Rear Window'' or ''Rope'', for example, are considered more influential and well-executed movies. Alfred Hitchcock [[WordOfGod himself]] considere ''Shadow of the Doub'' as his best movie.
27th Jul '17 7:10:33 PM Fuzzybluestockings
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Added DiffLines:

* EnsembleDarkhorse: Plenty of fans self-identify as being on Team Midge.
5th Jun '17 8:11:57 AM AmuckCricetine
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* {{Narm}}: The mental breakdown in the middle of the film can come off like a badly done DisneyAcidSequence.

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* {{Narm}}: {{Narm}}:
**
The mental breakdown in the middle of the film can come off like a badly done DisneyAcidSequence.DisneyAcidSequence.
** The final scene with [[spoiler:Judy falling to her death off the belltower upon being startled by a curious nun]] could probably provoke a chuckle or two instead of an appriopriate sense of tragedy. It doesn't help that [[spoiler:the aforementioned nun's reaction makes it look like she witnesses this kind of things every Tuesday]].



* UnintentionallyFunny: The final scene with [[spoiler:Judy falling to her death off the belltower upon being startled by a curious nun]] could probably provoke a chuckle or two instead of an appriopriate sense of tragedy. It doesn't help that [[spoiler:the aforementioned nun's reaction makes it look like she witnesses this kind of things every Tuesday]].
12th Apr '17 11:18:04 AM Zeiss
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* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), who become DoppelgangerReplacementLoveInterest, are look-alikes for another women, and end up dead because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').

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* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), who become DoppelgangerReplacementLoveInterest, are look-alikes for another women, woman, and end up dead because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').
7th Apr '17 9:18:58 AM Zeiss
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* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), who become DoppelgangerReplacementLoveInterest, are look-alikes for another women, and who die because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').

to:

* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), who become DoppelgangerReplacementLoveInterest, are look-alikes for another women, and who die end up dead because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').
7th Apr '17 9:15:16 AM Zeiss
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* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), become DoppelgangerReplacementLoveInterest, look-alikes for other women who die because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').

to:

* ArchetypalCharacter: An unnoticed legacy of ''Vertigo'' as an iconic classic are repeated times in popular culture which feature a woman named "'''Madeleine'''" (or variations of the name), who become DoppelgangerReplacementLoveInterest, are look-alikes for other women another women, and who die because of the actions of a man. A few examples include [[Characters/TwinPeaks Madeline Ferguson]] (''Twin Peaks''), [[Characters/XMenRoguesGalleryMToZ Madelyne Pryor]] (Marvel Comics), and [[Film/WhatLiesBeneath Madison Frank]] (''What Lies Beneath'').
5th Apr '17 3:58:17 PM JulianLapostat
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* AdaptationDisplacement: Based on an obscure French novel, ''D'entre les morts'' (''The Living and the Dead''), by Pierre Boileau and Thomas Narcejac. Like most books adapted by Creator/AlfredHitchcock, it's long since been overshadowed by the movie.

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* AdaptationDisplacement: Based on an obscure French novel, ''D'entre les morts'' (''The Living and the Dead''), Dead''[[note]]The title literally translates as "From Among the Dead"[[/note]]), by Pierre Boileau and Thomas Narcejac. Like most books adapted by Creator/AlfredHitchcock, it's long since been overshadowed by the movie. [[note]]Incidentally, Boileau-Narcejac were the authors of the source for the French classic ''Film/LesDiaboliques'' by Henri-Georges Clouzot (promoted to his and Hitchcock's mutual chagrin, as "The French Hitchcock"), a film that Hitchcock liked, and that it's likely that the latter's success inspired him to check out their catalogue[[/note]]



* HypeBacklash: Not everyone thinks this movie deserved to beat ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll, or even to outrank all of Hitch's other movies. Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, and even then, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu[[note]]Citizen Kane had formerly been number 1 on the previous two critics and directors list[[/note]].
** While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film can hardly be considered revolutionary on a technical level: the use of camera shots, for instance, while certainly well arranged and thought out, was by no means groundbreaking, as opposed to quite a few other cult classics[[note]]With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect[[/note]]. No matter how much you like ''Vertigo'', the truth is that a Hollywood without it ever being made wouldn't probably differ all that much from the Hollywood we know today, which could never be said about the likes of ''Citizen Kane'' or ''Film/StarWars''.

to:

* HypeBacklash: Not everyone thinks this movie deserved It's finally achieved the critical and cultural prestige and popularity to beat face this. Especially after the film unexpectedly dethroned ''Film/CitizenKane'' in the 2012 ''Sight and Sound'' Critics' Best Films poll, or even to outrank all of Hitch's other movies. Many poll[[note]]Many of the critics and directors polled more or less admitted they voted to knock ''Citizen Kane'' of the perch, i.e, they had HypeAversion for Welles and even then, now wanted [[CursedWithAwesome to pass the disease to a new carrier]]. Incidentally, the Director's 2012 Poll chose ''Film/TokyoStory'' by Creator/YasujiroOzu[[note]]Citizen Kane had formerly been number 1 on Creator/YasujiroOzu, so it's not an unanimous choice[[/note]] It was a modest success (an AcclaimedFlop by fifties standards) in its time, and critically mixed, and more or less vanished off American screens for decades. It's only since TheNineties, that it enjoyed the previous two critics and directors list[[/note]].
**
critical reputation it now has. While the general consensus nowadays is that ''Vertigo'' should definitely be counted among Hitchcock's best works, you will find plenty of professional critics or even casual moviegoers feeling that it got way more praise than it deserved and [[StrawmanHasAPoint much of the original 1958 criticism of it was in fact well founded]]. Possibly one of the most convincing arguments is that the film can hardly be considered revolutionary isn't innovative on a technical level: the use of camera shots, for instance, while certainly well arranged and thought out, was by no means groundbreaking, as opposed to quite a few other cult classics[[note]]With level(With the notable exception of the appropriately named cinematographic gimmick known as the VertigoEffect[[/note]]. No matter how much you like ''Vertigo'', the truth is VertigoEffect). It's pointed out that from the aesthetic-technological view, a Hollywood without it ever being made ''Vertigo'' wouldn't probably differ all that much a great deal, from the Hollywood we know today, which could never be said about the likes of as compared to ''Citizen Kane'' or ''Film/StarWars''.''Film/StarWars''.



* TheyWastedAPerfectlyGoodPlot: One of the almost universal complaints about the movie is that the PlotTwist is revealed while there's still a good 40 minutes to go, whereas it could have been postponed until the very ending, potentially making it much more dramatic than it is in the final cut.

to:

* TheyWastedAPerfectlyGoodPlot: One of the almost universal complaints about the movie is that TheReveal of the PlotTwist is revealed while there's still PlotTwist, a good 40 minutes to go, whereas it could have been postponed until before the very ending, potentially making it much ruined the potential for a more dramatic than it is in shocking finale. This was more or less an IntendedAudienceReaction on Hitchcock's part (The Novel he adapted from indeed did have such a twist, but Hitchcock and his screenwriters changed it), since he wanted a HalfwayPlotSwitch that converted a PsychologicalThriller into a character study about TheHero's sexual obsession and neurosis, and part of the final cut.way of achieving that was via PerspectiveFlip of seeing the hero from Judy's point of view.



* VindicatedByHistory: Neither a box office hit (though it recouped costs) nor critically acclaimed (except by Hitchcock's admirers in France) when it was originally released, it is now regarded as one of Hitchcocks' best and most popular films, and by many film-makers and critics as his masterpiece, alongside other essentials made in a 9 year stretch - ''Film/RearWindow, Film/NorthByNorthwest, Film/{{Psycho}}, Film/TheBirds''.

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* VindicatedByHistory: Neither a box office hit (though it recouped costs) nor critically acclaimed (except by Hitchcock's admirers in France) when it was originally released, it is now regarded as one of Hitchcocks' Hitchcock's best and most popular films, and by many film-makers and critics as his masterpiece, alongside other essentials made in a 9 year stretch - ''Film/RearWindow, Film/NorthByNorthwest, Film/{{Psycho}}, Film/TheBirds''.
5th Apr '17 3:36:36 PM JulianLapostat
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* SheReallyCanAct: Doubled with VindicatedByHistory. At the time of the release (and throughout her acting career), Kim Novak's acting abilities were largely dismissed by the audience and critics alike - and ''Vertigo'' initially did little to change that. However, with a newly found appreciation for the film itself there gradually came recognition that it would have lost a great deal of its magic, had it not been for the actress who portrayed the female lead. Her performance in the second half, especially, is considered to be especially moving and powerful, especially in the way she manages to get the audience to sympathize and identify with a character who the audience would otherwise see as a FemmeFatale villain.

to:

* SheReallyCanAct: Doubled with VindicatedByHistory. At the time of the release (and throughout her acting career), Kim Novak's acting abilities were largely dismissed by the audience and critics alike - and ''Vertigo'' initially did little to change that. However, with a newly found appreciation for the film itself there gradually came recognition that it would have lost a great deal of its magic, had it not been for the actress who portrayed the female lead. Her performance in the second half, especially, half is considered to be especially moving and powerful, especially in the way she manages to get the audience to sympathize and identify with a character who the audience would otherwise see as a FemmeFatale villain.
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