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1,001 Reasons I Love Movies: (#26) Alfred Hitchcock’s ‘Vertigo’ and the Space-Time Bending Kiss

  • March 12, 2012 9:05 pm

Today is National Alfred Hitchcock Day so on the day when we celebrate the work of one of America’s greatest film directors, I thought it only fitting that I pay tribute to my favorite moment from my favorite Hitchcock film. Yeah, the shower scene from Psycho is awesome, as are moments like Cary Grant’s escape from the attacking crop-dusting plane in North by Northwest or the long tracking shot into the key in Ingrid Bergman’s hand in Notorious, but nothing beats Jimmy Stewart and Kim Novak’s kiss in the hotel room from 1958′s Vertigo.

In the film, due to his crippling fear of heights, Stewart’s Scottie Ferguson is unable to save the love of his life Madeline (Novak) when she falls to her death from a bell tower. But later, Scottie meets Judy (also played by Novak) who bears a striking resemblance to the deceased Madeline. So Scottie does the only thing one can do in a Hitchcock film—he gives Judy an extreme makeover until she looks exactly like his dead love; culminating in the scene you are about to see below.

1,001 Reasons I Love Movies: (#11) The Shower Scene In ‘Psycho’

  • February 21, 2010 2:14 am

My fellow Offenders Iris and Elaine have been blogging this month about the films they think should have been nominated for Oscars (see examples here, here and here). Of course there were also many deserving individuals who never won the gold statuette and I think none of the “losers” were more deserving than director Alfred Hitchcock. Known as the “Master of Suspense,” Hitchcock helmed such classic thrillers as Notorious, Vertigo, North By Northwest, Rope, The Birds and, of course, Psycho.

In fact, the shower-murder scene in Psycho may not only be the most famous sequence in all of Hitchcock’s films, but one of the most famous in all of cinema. In an era of extreme horror films like the Saw series, this scene may no longer have the same power to shock audiences like it did when it was released in 1960, but it still retains its power 50 years later. Hitchcock should have won a directing Academy Award for this sequence alone. But since he didn’t, I’d like to pay homage to it as part of our Oscar “flavah of the week” by examining what makes Psycho’s shower-murder one of the most effective moments to ever be captured on celluloid.