Vertigo for Life

<i><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">by guest contributor Dan Auiler</span></span></i><br /><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-mSy7uqYMb3N3Bo1O6fcC21NtQ2vcxYG5Bl0iui6xyPbQhNtWVu_gzY33VmsPM8aee8Q1vzQCscmKFSjTvuWvptr-8tPZ1I5JAE9oqGOLIZ8zV6VzmzSF6txYIsm6l87J1dxvBqn8R5hd/s1600/saul+bass+2+b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-mSy7uqYMb3N3Bo1O6fcC21NtQ2vcxYG5Bl0iui6xyPbQhNtWVu_gzY33VmsPM8aee8Q1vzQCscmKFSjTvuWvptr-8tPZ1I5JAE9oqGOLIZ8zV6VzmzSF6txYIsm6l87J1dxvBqn8R5hd/s1600/saul+bass+2+b.jpg" /></a></div><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">A month of <i>Vertigo </i>is light sentence. Most of us who encounter this film end up serving life sentences. Our lives, our thoughts become trapped in the vortex of the strong currents this film produces. <i>Vertigo</i>'s meaning and importance in film have become so varied and vital that choosing one tendril spinning out from one of John Whitney's Lissajous diagrams is challenging - but keeping that line of thought from swirling back into the film's center and tossing you out on some other surprising shore is just about impossible.</span></span><br /><div style="text-align: center;"><br /><a name='more'></a><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/BzB31mD4NmA?rel=0" width="420"></iframe></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The film has become something I can seldom approach head-on, in a straight line. For example, the original idea for this blog post was to look at <i>Vertigo</i> and the films of Chris Marker. But even on the way to introducing the idea, we encounter John Whitney. John Whitney was the groundbreaking computer animation filmmaker who not only invented</span></span> <span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">computer controlled animation, but hand-machined the devices himself out of surplus Air Force engines. It was on one of these devices that Whitney created the opening spiral designs that Saul Bass used for the title sequence.</span></span><br /><br /><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/7yyQeHdQDXU?rel=0" width="560"></iframe><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">And now, aiming still at Chris Marker, detoured out of essence to a brief John Whitney nod, we encounter another 20th century giant, Saul Bass. The very look of the last hundred years, let alone the way movies open, have been impacted by the vision and design abilities of Saul Bass.</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Selecting Saul Bass, John Whitney - these are obvious choices today. In 1957, these guys were not household names even to filmmakers. One of Hitchcock's remarkable abilities was his choice in collaborators. Other posts this month have outlined the other key components of the design team for <i>Vertigo</i>. Bernard Herrmann, Edith Head, Samuel Taylor - again, hindsight provokes us to ask how the film could fail.</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWUuqMf7mVMEy2xw1JSOKvmS4w2xeChDm2WtNpJn_1-BiQQRtSQdil1Jk3YGJKaA2ub0ezR00sdjgkyiT0RAW7fU5lskcV546eqQTIathWdAQk3A9pde5YrGc6KOTz8Gi9ujknbIxv1re/s1600/la+jetee.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWUuqMf7mVMEy2xw1JSOKvmS4w2xeChDm2WtNpJn_1-BiQQRtSQdil1Jk3YGJKaA2ub0ezR00sdjgkyiT0RAW7fU5lskcV546eqQTIathWdAQk3A9pde5YrGc6KOTz8Gi9ujknbIxv1re/s1600/la+jetee.jpg" /></a></td></tr><tr style="font-family: Verdana,sans-serif;"><td class="tr-caption" style="text-align: center;"><i>La Jetee</i> (1962)</td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Now I'm far from Chris Marker. But I thought you would appreciate the detour. Marker has also been a life-long devotee of <i>Vertigo</i>. His break-out short film <i>La Jetee</i> references the film's famous tree sequence; <i>La Jetee </i>is a further examination of the aspects of time, obsession and our movable points in time. (here is the complete text to <i>La Jetee</i>: </span><a href="http://www.markertext.com/la_jetee.htm" style="color: #990000;"><span style="font-family: Verdana,sans-serif;"><i>La Jetee</i> by Chris Marker</span></a><span style="color: black;">)</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Marker, in a later work of opposite dimensions, <i>San Soleil</i>, tours San Francisco and <i>Vertigo</i>'s film locations, marking in film at least the first of the pilgrims to visit Lombard Street, Fort Point, the Legion of Honor art museum, San Juan Bautista. <i>Vertigo </i>aficionados feel compelled to make this pilgrimage. It was my first trip after college. I'm not sure why this was so vital - but I am not alone. (There are several paid tours of the film sites available)</span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i> </i></span></span></span><br /><div style="text-align: right;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgQqf0jLnHob02A1hhaifwO0bLXSpmmwQlrAfieHwWWHWgsVfW-u6IX3N4EgC63spTcU1YysY3F7jNZEy0G2cbxOhJuefTndZRN32aHRZo8zhanXjlawX4-DAyiI5A0rfj5bAyTOzYOq4/s1600/chris+marker.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgQqf0jLnHob02A1hhaifwO0bLXSpmmwQlrAfieHwWWHWgsVfW-u6IX3N4EgC63spTcU1YysY3F7jNZEy0G2cbxOhJuefTndZRN32aHRZo8zhanXjlawX4-DAyiI5A0rfj5bAyTOzYOq4/s1600/chris+marker.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">Filmmaker Chris Marker</span></td></tr></tbody></table><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Vertigo </i>and its production history led me to discover Marker. His reference to the film in his own was the starting point. Now I'm fascinated by his total mess-with-your-head understanding (or non-understanding) of time. The English version of <i>San Soleil</i> begins with these lines from TX Eliot's <i>Ash Wednesday</i>:</span></span></span><br /><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">"Because I know that time is always time</span></span></span><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">and place is always and only place</span></span></span><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">And what is actual is actual only for one time</span></span></span><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">and only for one place."</span></span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">What then is the time and place for <i>Vertigo</i>? This is a profound question in the structure of the film. It is an even more profound question for us, the film's fans.</span></span><br /><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">What is the time and place of this film in our lives? For me, it has been the gateway, the worm hole, the central vortex around which all of Hitchcock's films and subsequently my own psychic life turn.</span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></span><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Use <i>Vertigo</i> as a starting point and then lose yourself as a wanderer. My latest encounter on the <i>Vertigo </i>trail is the three-part video essay curated<span style="color: #990000;"> </span></span></span><span style="color: #cc0000; font-family: Verdana,sans-serif;"><a href="http://www.movingimagesource.us/articles/vertigo-variations-pt-1-20110921" target="_blank"><span style="color: #cc0000; text-decoration: none;">here</span></a></span></span> <span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">at</span><span style="font-family: Verdana,sans-serif;"> the Museum of Moving Image. This is accessible but heady stuff.</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">There are other "better" films even in the Hitchcock canon, but <i>Vertigo </i>is perhaps the most profound pop film. Everyone chooses which films lie closest to their own heart, their own story.<i> Vertigo </i>is that film for me.</span></span><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><object height="372" width="448"><param name="movie" value="http://www.movingimagesource.us/flash/mediaplayer.swf?id=158/976"></param><param name="allowFullScreen" value="true"></param><param name="wmode" value="transparent"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.movingimagesource.us/flash/mediaplayer.swf?id=158/976" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" wmode="transparent" width="448" height="372"></embed></object></div><br /><div style="text-align: center;">~</div><div style="text-align: center;"><br /></div><div style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjax1r6UwNlB9eHzb8KnhG6B9f30w0i8gVxJfLpB1pGkg0z2XVVVwqSnLYXrGx_JZpr79T2ie_jzWJkVvwHttl6Ndm51qO1zVRmvbt5swdrsYuEeJMr_778E5W2-CarNaGnuJkt1ELPpa35/s1600/vertigo+book+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjax1r6UwNlB9eHzb8KnhG6B9f30w0i8gVxJfLpB1pGkg0z2XVVVwqSnLYXrGx_JZpr79T2ie_jzWJkVvwHttl6Ndm51qO1zVRmvbt5swdrsYuEeJMr_778E5W2-CarNaGnuJkt1ELPpa35/s320/vertigo+book+cover.jpg" width="256" /></a></div><span style="font-size: small;">Dan Auiler is the best-selling author of <a href="http://www.amazon.com/dp/B005FUEM0E/ref=as_li_qf_sp_asin_til?tag=hitchcblog-20&camp=14573&creative=327641&linkCode=as1&creativeASIN=B005FUEM0E&adid=0SRR1ZSGX9A4SMT0GPMQ&&ref-refURL=http%3A%2F%2Fvertigofalls.blogspot.com%2F" style="color: #990000;"><u>Vertigo: The Making of a Hitchcock Classic</u></a><i> </i>(St. Martin's Press 1998, Kindle 2011) and <u>Hitchcock's Notebooks</u> (HarperCollins 1999). In addition to his writing, he has taught for more than 20 years in the Los Angeles area. </span><br /><span style="font-size: small;"><br /></span><span style="font-size: small;">Dan is considered one of the foremost authorities on Alfred Hitchcock and has made appearances on CNN and other major networks as an expert on Hitchcock, Billy Wilder and general film history.</span><br /><span style="font-size: small;"><br /></span><span style="font-size: small;">It was after reading Dan's painstakingly researched and thoroughly insightful book on <i>Vertigo </i>that The Lady Eve was inspired to undertake <i>A Month of VERTIGO. </i>Dan's blog is <a href="http://vertigofalls.blogspot.com/" style="color: #990000;">Vertigo Falls</a>.</span></div>

A Month of Vertigo Alfred Hitchcock Chris Marker Dan Auiler John Whitney La Jetee San Soleil Saul Bass Vertigo for Life

by guest contributor Dan Auiler A month of Vertigo is light sentence. Most of us who encounter this film end up serving life sentences. Our ...

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