Study Diary

November 11, 2009

Once I decided to look at “Vertigo”, I looked at which books might be interesting and went on a Library mission. I got out 4 books, “Hitchcock’s Romantic Irony”, “Hitchcock’s Films Revisited”, “The Women Who Knew too Much: Hitchcock and the Feminist Theory” and “Everything You Always Wanted To Know About Lacan But Were Too Afraid To Ask Hitchcock”. I did not use this last title, it was quite interesting to read around though, but the others all proved quite useful. I looked up the relevant passages and read them. All roads led back to “Hitchcock’s Films Revisited, so this I used as my starting block.

The book provided scene-by-scene analysis of many of Hitchcock’s films, including “Vertigo”. So I found the paragraphs corresponding to the scene I was looking at and read. I drew two key ideas out of this reading, and other ideas floated around my head, which would resurface later.

The first of the ideas I wanted to look at from this passage was that of audience and first hand reaction to suicide. This became a dead end. So it was time to cut my losses and move on. I did look at the idea of suicide in later posts, partially to do with Scottie’s reaction, but nothing on the audience reaction.

But, moving on, I went on to try to look at the roles and male and female protagonists and romantic leads in films generally, and how Scottie and Madeleine relate to the typical portrayal of male and female leads. This again, very nearly proved a dead end. I did however, after hours of searching, find some information, which I could draw my own conclusions from, rather than drawing and adjusting someone else ideas on the subject. I didn’t really like this way of gathering information for these purposes, as when trying to form an opinion on a topic, I find it useful to look at other peoples to help me create an opinion with depth and that’s not just based on my own ideas. I tried reading the books I had, which brought up some interesting notions about the characters, but not relevant to what I wanted to discuss. But it was time for a good rest after looking at information that was getting me nowhere for hours before having to finally give up and form my own opinions on the matter.

Two days later I was ready to address the question that had been raised by the books I read, Does Scottie Love Madeleine?  This day I looked at the two key points that lead me to look at this question. The first was that of fetishism. After a good scour of the Internet, I found a really good article on fetishism, that wasn’t just talking about inanimate objects, or looking at fetishism in a sexual sense. I sat down and read, and thought, and concluded and typed. After that it was time for a good break, a nice dinner and half a pint of Ben and Jerry’s. I’ve always found that I work well if I start working half an hour to an hour after I’ve had a good meal, a pattern that repeated itself throughout my research process. Another way of getting myself to do work if I wasn’t focusing was by denying myself things, or treating myself (things like cigarettes and chocolate) until or when I felt I had done a reasonable amount of work. This is a particularly effective reward system I find. Anyway, after this break I went on and found an article that was relevant to the idea of possession and provided that and analysis of if in a day. Phew. What a lot of work. Up until the small hours, and now it was time for a well-deserved rest.

My research continued in the same pattern for the rest of my blog, finding questions, noting them, and finding a juncture to research and answer them, generally working an hour after dinner till the middle of the night. I’ve known how I work best for quite some time, and followed this pattern for my research.

Written Plan for a Critical Discussion

November 11, 2009

Key Points

  • Characters
  • Love
  • Location
  • Music

Characters

  • Madeleine – Suicide, ideal woman, romance, difference from other romantic leads, who she is to Scottie, as a fetish object
  • Scottie – Emasculation, James Stewart as the romantic lead, love, fetishism and possession.
  • Midge – Who is she to Scottie, could she in fact be his idea woman? Does she affect his relationship with Madeleine?

Love

  • Fetishism
  • Possession and fear
  • Scottie and Madeleine
  • Scottie and Midge
  • Romantic Love
  • Obsessive Love

Location

  • Madeleine – Historical, religious, spiritual, tower, suicide.
  • Scottie – Tower, vertigo, ‘The Vertigo Shot’, emasculation.

Music

  • Romance
  • Tension
  • Strings
  • Brass
  • Climax
  • Denouement

Research Findings

November 11, 2009

My primary investigation into the clip was looking at Robin Wood’s analysis of the film, which led me to want to look at two ideas to do with the clip. These were reactions to viewing suicide, from a first hand experience or from an onscreen fabrication. I couldn’t however find any information I felt was relevant on this topic, so I moved on to the other idea I found interesting from this text. Protagonists and romantic leads in Hollywood.

I could not find the kind of information I wanted to on this topic. I did however find information I could draw my own conclusions from. This was a list of Hollywood icons that played romantic leads up until this point in cinematic history. James Stewart was somewhat out of place in terms of the typical lead both physically in himself and in terms of the character he was portraying. This character isn’t dissimilar to other characters he has portrayed with a genuine and likeable almost ‘everyman’ quality.

Kim Novak did not look out of place for a female lead. She was however, jarringly younger than Stewart. Typically male leads are older than their female counterparts, but there’s something not quite right in the age difference between them. Other than that Novak doesn’t look out of place for a female romantic lead, however, the personality of Madeleine could be argued as unusual for a female lead in a film, particularly at this time. Let’s face it, in King Kong, Fay Wray didn’t act, she looked pretty and screamed. Women were there to be weak and vulnerable for the simple reason that that’s what women were meant to be. Madeleine however was mysterious and had a challenging personality. She had her own agenda, which, in this clip, clearly wasn’t based purely on getting married and settling down. This film really challenges the gender roles of men and women.

This line of thought, and some texts I read lead me to question whether Scottie really loved Madeleine, looking at the concepts of not just love, but also fetishism and the need to hold control and possession over another individual.

The first concept I looked at was fetishism. I found out about the origins of the word fetish and several definitions of the word fetish, and looked at how Madeleine could be viewed as a fetish object in multiple ways. At no point did I find any reason not to believe that Madeleine was a fetish object to Scottie.

The next concept in this little triage I was looking into to explore the concept of love I did look at was the idea of possession of an individual. Looking at the symptoms of possession and fear, it’s quite clear that these were elements that Scottie was feeling. The article I was looking at also lead me to want to look at two further questions. That of how Scotties relationship with Midge effects the one he has with Madeleine and the other to do with Scotties masculinity, and whether he feels emasculated by his inability to save Madeleine.

I however continued to peruse the avenue of investigation I was already on, not wanting to leave it until I ad reached a conclusion I felt satisfied with. The final topic that there was to look at was love. It took me a while, but I finally found a very good article, outlining several theories of love, which seemed to boil down into 2 simple ideas to me. Romantic love and obsessive love. I concluded that Scottie saw Madeleine as an object of fetish and something, contrary to what he was saying, that he wanted to ‘posses’. On the realization that this is something he is unlikely to attain, he tries his hardest to hold on to her, seemingly more concerned with keeping her in his life, than her general state of wellbeing in my opinion. He feels an obsessive love towards her, rather than a romantic love, which would be the idea in any kind of ‘normal’ relationship, people who enjoy S&M excluded.

I then went back to a question I asked myself during this avenue of questioning, not wholly related to what I was looking at, but not wholly independent either. Does Scottie feel emasculated by his inability to save Madeleine? I found an article looking at Scottie’s masculinity throughout the film. Not just in this scene. It becomes apparent that Scottie is feminized right from the start of the film, being unable to fulfil his duties in the masculine role of policeman, and being forced to wear, for medical reasons obviously, a very female corset. He manages to begin to regain his masculinity in part when he is following Madeleine, feeling as though he was once again doing his macho job. When he has the inability to save Madeleine he looses the ability to do anything, ending up in a sanatorium.

Next, I looked at Midges relationship with Scottie, and it seemed to me that his inability to maintain a domestic/romantic relationship with Midge, a seemingly idea domestic partner, and his apparent lack of any relationship since, leads him to fall for her complete opposite. Midge is down to earth, has a career, looks after Scottie and has the air of being easy to understand. Madeleine on the other hand is glamorous, lives off her husband, and has an aurora of danger and complexity. It seems as though Madeleine being Midges complete opposite is something that drew Scottie to her.

Now for the music. I do not have the greatest ability to ready music technically, but I do remember how to look at it critically from my year 9 music lessons without actually knowing a great deal. I found that the construction of the music was somewhat marvellous, and incredibly thought through in this scene, and my readings on the music backed up everything I said about it, the use of a rapid succession of notes for example, building up the tension in the piece.

Looking at the building of tension led me to go on to look at ‘The vertigo shot’ and how and why and all kinds of other things to do with it. The two key points it has from an audience reaction stand point are showing Scottie’s vertigo and disorientating the viewer, helping them empathize with Scotties situation.

The final thing I looked at was the location. The surroundings show several different things about the piece in relation to the characters. Firstly, concerning Madeleine. The setting put her in a historical context, signifying her possession from an ancestor, and the religious themes of the place signifying a spiritual quality.

I-Map

November 11, 2009

I-Map

References

November 10, 2009

Analysis of Major Characters - http://www.sparknotes.com/film/vertigo/canalysis.html – Accessed 04/11/09

Camera Movement in Vertigo – Richard Allen - http://labyrinth.net.au/~muffin/camera_movement.html - 05/02/07

Fetishizing the Fetish – Matt Wray – http://bad.eserver.org/issues/1998/41/wray.html – 12/98

Hitchcock’s Films Revisited – Robin Wood – Columbia University Press – 1989

Hitchcock’s Romantic Irony – Richard Allen – Columbia University Press – 2007

IMDb – Romancehttp://www.imdb.com/Sections/Genres/Romance/ – Accessed 24/10/09

It’s a Wonderful Life – Frank Capra – Liberty Films – 1946

Mr Smith Goes to Washington – Frank Capra – Columbia Pictures – 1936

Possession and Fear in Relationships – Patricia Williams – http://www.associatedcontent.com/article/68990/possession_and_fear_in_relationships.html?cat=41 – 10/10/06

The Representation of Gender in Alfred Hitchcock’s Vertigo – Clinton Adas – http://sun025.sun.ac.za/portal/page/portal/Arts/Departments/english/Documents/Clinton%20Adas.pdf – 2006

Theories of Love – Kendra Van Wagner – http://psychology.about.com/od/loveandattraction/a/theoriesoflove.htm – 2005

Vertigo – Alfred Hitchcock – Paramount Pictures – 1958 – http://www.youtube.com/watch?v=GnpZN2HQ3OQ

‘Vertigo’ – Magill’s Survey of Cinema by Salem Press – http://hitchcock.tv/essays/vertigoessay.html – 01/01/94

‘Vertigo’ – Bill Wrobel – http://www.filmscorerundowns.net/herrmann/vertigo.pdf – 02/06/03

The Women Who Knew Too Much: Hitchcock and the Feminist Theory – Tania Modleski – Routledge – 1989

Irrelevant Really

November 9, 2009

For my last post, I thought I’d just pop this in. It has no real relevance to the clip, but it uses images from it, and found it quite enjoyable. It’s a music video someone’s made using the clip I’ve been looking at, along with some other footage (from The Battleship Potemkin) and music from Placebo and Radiohead.

http://www.switch.tv/videos/266/

Location Location Location

November 8, 2009

http://hitchcock.tv/essays/vertigoessay.html

‘Hitchcock’s use of landscape and geography is most revealing. The locations chosen are all connected with the past and with time: the Palace of the Legion of Honor Museum, the Portals of the Past, the ancient redwoods. Even the details within scenes are keyed as symbols for the timeless state Scottie has entered: the mirrors (traditional passageways into the underworld) in the flower shop at which Madeleine stops and the elegant restaurant, Ernie’s, in which he first sees her, and the fog-enshrouded graveyard of the Mission Dolores.

The central symbol for the film is, however, the mission at San Juan Batista. It is here that Scottie searches for Carlotta’s past in hopes of finding verification for Madeleine’s claims. Steeped in history, the mission is safely isolated from the everyday world. It is a museum of California’s past, a place of religious ritual and retreat. It is to these ancestral roots that Madeleine returns, and it is here that Scottie is forced to confront not only his obsession with her but also his phobia. Madeleine, driven to the site of Carlotta’s suicide by some force, ascends the bell tower of the mission, pursued by Scottie. In an agonizingly painful scene, Madeleine jumps from the tower as Scottie, frozen by his acrophobia and unable to climb the staircase, is forced to watch, for a second time, someone fall to his death.’

The mission at San Juan Batista represents several different things in my opinion. There are the connotations of the past and ancestry, as emphasized in this article. There is also the idea of spirituality to take into account, it being a religious place, this tying in with the idea of Madeleine being ‘possessed’ by the spirit of a dead relative. There is also a certain amount of irony in the fact that Madeleine appears to commit suicide in a religious setting, when suicide is seen as being a mortal sin. The tower has multiple meanings. The primary use is as an object for Madeleine to kill herself, where the evidence is there for Scottie to see, but with him unable to stop her, or see her face. It could also be seen as a phallic symbol. Scottie is unable to reach the top of the tower, thusly emasculating him.

‘The Vertigo Shot’

November 7, 2009

http://labyrinth.net.au/~muffin/camera_movement.html

‘The other side of the beautiful illusion of timeless beauty is the fact of human mortality and sense of life’s meaninglessness that the illusion of timeless beauty papers over. This abyss of meaning is opened up in Vertigo by the famous vertigo-shot itself whereby Hitchcock embodies for the spectator the visceral experience of Scottie’s acrophobia in the combination zoom in/track out point-of-view shot. This representation through camera movement and zoom of the experience of falling creates an effect that is precisely the opposite of the camera movement that brings into being Scottie’s relationship to Madeleine and the world of the film that mimes that relationship. The effect of the vertigo-shot is to close down the gap between self and world which must be maintained to sustain the beautiful illusion of Madeleine, and the shot also, equally, has the effect of disrupting the spectator’s absorption in the world of the film. Hitchcock’s reverse-field cutting between the forward-tracking shot and backward-tracking reaction-shot sustains the distance between self and other, even as it articulates the allure of immersing the self in the other. In the vertigo-shot, the relationship between self and other implodes. Scottie is at once pulled into and seems to fall into the spatial field in a way that collapses the distance between subject and object that elsewhere is sustained by the cutting between forward and backward motions of the camera. Scottie confronts an implosion of space in a colorless spiraling void in a manner akin to madness. The experience of vertigo on the bell-tower of the Mission San Juan Bautista leads both to the destruction of Scottie’s beautiful illusion and of the subjectivity (his own) that it serves to sustain. Madeleine perishes moments after Scottie’s attack of vertigo, and Scottie himself is reduced to a catatonic state. Equally, in the vertigo shot, the beautiful illusion of the film itself is destroyed, the contemplative experience of beauty ravishingly created in Ernie’s restaurant is transformed into the sensation of shock and overt manipulation.

‘In the vertigo shot, the spiral structure, embodied in the staircase of the Mission San Juan Bautista, suddenly stretches like a spring whose tension has collapsed. Scottie will never reach his destination. Scottie’s vertigo stretches to breaking-point the thread linking his present desire to its future realization. We might speculate that had Hitchcock the resources of computer-controlled micro-camera technology, he would have filmed the movement of the camera in this shot as a spiral movement of increasing velocity. In the actual film, the out-of-control spiral is brilliantly evoked by the “movement” of the spiral staircase.’

 

Key Points in this text.

  • The presence of ‘the vertigo shot’.
  • How ‘the vertigo shot’ is created. (Synchronized track and zoom at the same time.)
  • How ‘the vertigo shot’ shows Madeleine and Scottie’s relationship.
  • The relationship of the viewer to the image.
  • The feeling of vertigo and madness that ‘the vertigo shot’ creates.
  • The destruction of Scottie’s view of Madeleine and the destruction of the viewer’s relationship with the text.
  • The structure of ‘the vertigo shot’ also shows Scottie reaching his breaking point, emotionally and in terms of pushing his vertigo.

Music:Tension and Romance

November 6, 2009

My initial reading of the music. (Please forgive my lack of technical knollage.)

When Madeleine and Scottie are on the lawn outside the church, the strings are playing a repeated pattern, which for me invokes tragedy and romance together. Each time the pattern is played, it begins on a higher note, but following the same pattern, and I think it gets a little faster each time. This increases the tension, and also foreshadows the climbing of the tower before the fall.

When Scottie looks up at the tower, and realizes what Madeleine is about to do, there is a sudden sinister horn note. This denotes a sudden negative revelation, based around the tower.

When Scottie is running after Madeline into the church, there is very rapid string music. This to me shows confusion and urgency, what Scottie is feeling. Why would Madeleine rather kill herself than stay with him? This pauses for a moment, when he enters the church, implicating a moment of serenity while he tried to work out what to do next, then comes back stronger when he follows her into and up the tower, adding more to the feeling of chaos and confusion. Occasional brass notes, getting incrementally higher, denoting tension and echoing the climb of the tower.

There’s a sudden high note, I think it’s on the brass section, when Scottie looks down the stairwell for the ‘vertigo shot’, which brings attention to this specific shot, and the feeling of unease which Scottie is experiencing.

Rapid brass notes are added to the mix, which increases the tension again, rhythmically sounding almost like a fast heart beat, and the string get more confusing.

There is a long string note when (the real) Madeline falls, giving a sense of climax and falling in itself. (I thought, when I first saw this film that it would end shortly after this sequence, reinforcing the climatic quality of this scene. Although we could see, if we wished, this scene as the climax and the rest of the film as the dénouement, with the revelation of Judy as Madeleine settling the evens up to this point.)

We then get a piece from the brass section, flowed by a piece from the stringed section that is a lot less rapid than the music just prior to it, once again, making this feel like a climax and it also gives us empathy with Scotties state of turmoil.

Finally, we get a brass section getting lower, as Scottie descends the tower, degrades emotionally, and walks away from the scene (and his masculinity, the giant phallic tower).

http://www.filmscorerundowns.net/herrmann/vertigo.pdf p26-27

‘“Farewell”  R8/C-8/D-8/E-9/A.  Molto moderato in C.  Pages 64-74, 117 bars. Scene: At noon, Scottie and M drive south to the mission San Juan Batista. 

     The music sounds the E min (E/G/B) combined with the flutes, clarinets, harps, and violins, conveying a rather deceptive calmness as they travel thru the lovely countryside.  The tranquility is that almost of dark, silent thoughtfulness and unresolved dynamics.  Harp I plays 16 note figures (4 X per bar) of B-E-B-E (bí-eíí-bíí-eíí); harp II plays descending B-G-E-C# (half-diminished melodic or horizontal tonality).  Sords violins I play 8th note figures B(b’)-E9e”)-B(b”)-E  2X per bar.  Violins II play B (b)/C#/E/G, etc. 

      The Habanera tempo returns in Bar 16 (2/4 time) as the violins play the rhythm on notes D(d” d”’).  Flute I also plays the rhythm.  Muted horns then sound the Ab chord(Ab/C/Eb/Ab) half notes pp < > to (Bar 19) the D Dom 7th 2nd inversion (A/C/D/F#).  The vibe strikes on Line 2 D, ppp.  Etc. 

      At the end of the longish cue (too much to get into!), when Scottie sees the Tower after M runs to it and suddenly realizes the tragic implications involved, we hear the stopped horns on Line 1 E [written B] dotted half note tied to next bar and held fermata.  The harps are arpeggiando on F# half dim chord (F#/A/C/E) starting on Contra-octave

A/Great octave F#/A/small octave C/E (bottom staff) and (top staff or harp I) small octave C/E/F#/A/Line 1 C/E dotted half notes let vibrate (silent in end Bar 117).  Strings are sff con forza bowed trem.  Violins I play Line 1 C/E dotted half notes bowed trem and tied to next bar (held fermata).  Violins II are bowed trem on small octave A/Line 1 E.  Viole play small octave E/F#, VC on Great octave C, and CB on Great octave F#. Bass clarinets play on small octave F# dotted half note.  

 

        “The Tower”  R9/AI. Allegro furioso in Cut time (C with the vertical line thru the middle).  Pages 75-82, 80 bars, 2:29.  

Stopped horns and trumpets in hard mutes sound off (D major for the trumpets). So horns play sff > Line 1 Gb/Bb [written Line 2 Db/F] whole notes held fermata. Trumpets (and vibe I) play Line 2 D/F#/A whole notes.  Vibe II sounds Line 1 Gb/Bb whole notes let vibrate. 

     In Bar 2, harp II sounds sff G/Bb/D (díí) whole notes (G min) held fermata, while harp II plays A#/middle C# whole notes.  Horns are stopped again, this time on small octave A#/C# [written Line 1 E#/G#].  The Pos (ìkî tenor clef) sound Line 1 G minor whole notes as well.  In Bar 3, the clarinets and bass clarinets are soli.  Clarinets play small octave D/F#/A whole notes sff > held fermata, and the bass clarinets play small

octave Gb/Bb whole notes. 

      In Bar 4 (now 2/4-6/8 meter with dotted quarter note = 120),  Fag I and C.F. are ff (molto sost) on Great octave F# half note tied to next several bars.  Fag II is on Great octave C.  The horns are sustained on lowest Bb [written F in the bass clef].  VC is on sustained Great octave C half note (tied thru Bar 12); CB on Great octave F#.  In Bar 5, the violins & violas are con forza ff playing a seven-note figure.  We find rising 16th

notes middle C-Db-D on the down-bow, then Eb-D-Db on the up-bow to the C (c’) 8th on the down-bow (followed by a quarter rest).  Repeat next bar.  Etc. 

      In Bar 32, as Scottie experiences vertigo up the tower stairwell, harp I is wildly gliss on the D major key sig (two sharps), falling to rising.  Harp II is wildly gliss on the Gb major key sig (six flats), rising to falling(contrary motion). 

      The H.O. plays whole notes Gb/Bb, D/F#/A, held fermata.  Ditto vibes.  Cymbals are struck ff.  Pos play Eb; trumpets with hard mutes sound the D maj triad, and stopped horns plat the Gb/Bb dyad. Etc. 

     In end Bars 75-80 (Lento), muted violins I play pp < > the E (e”’) to Bb half notes to next bar’s E whole note.  Violins II play E (e”) up to Bb half notes to (Bar 76) the E whole note.  In Bar 76, the clarinets make a response figure, Bb down to E half notes to (Bar 77) Bb whole note.  Etc.  Cue ends on Lines 2 & 3 E whole notes (e” e”’) played by the violins.’

 

Midge and Scottie

November 4, 2009

http://www.sparknotes.com/film/vertigo/canalysis.html

‘Analysis of Major Characters

Scottie

The scene in Midge’s apartment reveals that Scottie was a fairly average man firmly rooted in reality before his near-death experience. Scottie was a lawyer who joined the police force as a detective in hope of one day becoming chief of police. But Scottie has become acrophobic and is so disturbed by his condition that he quits his detective job. His restlessness and aimlessness are so palpable that when he takes a job sleuthing for Gavin Elster, he is perfectly positioned to get caught up in the world of dream and illusion that Elster and “Madeleine” create for him. He yearns for his life before the accident on the roof, and Madeleine’s apparent possession by a figure from the past is attractive to him, despite his initial skepticism.

 

By the time Scottie attempts to re-create Judy in Madeleine’s image, it is clear that he has become completely lost in the world of illusion and fantasy—so lost that he can no longer articulate rational reasons for his behavior. When Judy asks him what good it will do for her to “become” Madeleine, Scottie answers very genuinely that he doesn’t know. And yet he is driven to make the transformation happen, even at the risk of driving away Judy. The revelation of Judy’s true identity shatters Scottie’s illusion. Rage at the dissolution of his dream and at Judy’s trickery now possesses him.

Madeleine/Judy

The Madeleine character of Vertigo is a fabrication from the start, a fact that is not known until two-thirds of the way into the film when it is revealed that Judy impersonated Madeleine in a scheme to murder the real Madeleine Elster. It is a fact that unmoors viewers as it means that “Madeleine’s” apparent motivations, haunted dreams, memories, and even mannerisms have been externally created by Judy in collaboration with Elster. “Madeleine” is the perfect representation of the world of romantic illusion to which Scottie is tragically attracted. It is difficult to discuss what motivates “Madeleine” because she is no more than a projection. Judy, on the other hand, is a real person, complete with imperfections, complex feelings, and motivations. Where “Madeleine” represents the unattainable ideal, Judy represents the real. The only point at which Judy and Madeleine converge is in their love for Scottie.

Judy’s manners are unrefined, even a bit coarse. In short, she is the antithesis of the refined, ethereal “Madeleine.” But Scottie recognizes some echo of Madeleine in Judy and relentlessly quizzes her about her identity. At first, Judy defends her true self, repeating her name, the name of her hometown in Kansas, and her occupation. In retrospect, we see that she is probably desperate to reclaim her true identity after having played the role of Madeleine for so long. When it becomes clear to Judy that Scottie will never love her for her own attributes, she consciously surrenders herself and allows him to transform her into Madeleine. Indeed, by the time her transformation is complete, it seems that rather than playing a role, Judy has actually taken on Madeleine’s identity, a fact that would account for her unthinking and fatal choice of Carlotta’s necklace when she dresses for dinner.

Midge

Where Madeleine represents a romantic, otherworldly ideal, Midge stands for its opposite. The bespectacled Midge is practical, competent, realistic, and well adjusted. An artist by training, she applies her skill to prosaic ends, creating advertisements for women’s undergarments. Throughout the film, she attempts to keep Scottie’s feet on the ground. First, she tries to change Scottie’s mind about giving up his detective job and works on helping him overcome his acrophobia. When he begins his job trailing Madeleine, Midge attempts to unmask the improbability of the situation. Her constant attempts to make Scottie discuss the case reveal her desire to ground the mystery in reality and his unwillingness to do so. Scottie considers Midge’s treatment of Madeleine’s world to be a kind of blasphemy, and it becomes clear to Midge that she will find no entrance into that world. It is significant that the last shot of Midge is of her retreating down the hall of the sanatorium. She has been unable to bring Scottie out of his catatonic state and back to reality. He is now firmly entrenched in the world of illusion, beyond the reach of the “real world.”’

In many ways, I believe that Midge would be in ideal wife for Scottie. At the start of the film they obviously have a good relationship, and he obviously did care about her, and even love her at some point in his life, which is why he proposed to her. I think that one of the things that draws Scottie to Madeleine is that she is the opposite of Midge. Midge is clearly the right woman for him, and continues their friendship and cares for him throughout their lives, where as Madeleine is someone he can care for and look after. Madeleine is glamorous, beautiful and mysterious, where as Midge is homely, slightly pretty and motherly.


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