"He himself, by himself, with himself, uniform and eternal." Plato Quote
initial article "The propeller and the idea of" Eric Rohmer, published in the number 93 of Cahiers du cinéma, March 1959.
L propeller and idea is included as an epilogue in the last repeat of 2010 (first in Castilian) of the book, "Hitchcock " Manantial Argentina by the publisher. This little book, originally written in 1957 and published by Éditions Universitaires in Paris, was written by Eric Rohmer and Claude Chabrol with is the first compact on defense revealed the figure of Alfred Hitchcock in the author's political movement the journal Cahiers du Cinema. A year later, opens Vertigo / Of the Dead (Vertigo, 1958), film adaptation of the novel by Boileau and Narcejac, and in 1959 Eric Rohmer (pseudonym of Maurice Scherer) write a small essay on Vertigo . On June 13, 2008, in an interview with Antoine de Baecque for Cahiers du cinema, Rohmer expressed his desire to include this article in subsequent reprints of the book:
Unfortunately, Rohmer, who died on January 11, 2010 , would not know the existence of such recent reissue of March 2010, now in its desire to include that provision, by way afterword. An article that attempt to analyze in the third person, given the impossibility of its complete publication in this space, requiring them to purchase the book published by Spring.
Still, quoted directly from the original article a record of the Rohmer's boundless admiration for Hitchcock. A prefatory speech presented below and after the defense team as part of the director, admits the following, regarding the quote from Plato:
parking, therefore, the metaphysics of speech, which belongs to read full article to simply summarize this admiration of Rohmer Hitchcock, and Vertigo . So, try to open those doors of speaking, those keys.
To begin, according to Rohmer, Vertigo completed a particular trilogy, whose first piece would be Rear Window (Rear Window, 1954), and Man Who Knew Too Much (The Man Who Knew Too Much, 1956). These three films would be twinned on grounds of form, architecture. The scenic grounds, the decor, the atmosphere, these three films, would form a kind of triptych around the architectural sense, in the strictest sense of the term. Here, I do post a small item, noting that I have no doubt that course would have added Rohmer With a film like death in the Northwest (North by NorthWest, 1959) , for example, released shortly after the drafting of this article, and I even dare say that warn the architectural motif to the end of the filmography of the British master.
But in addition, these films are linked for many reasons in the article by Rohmer, completing the formal sense of the triptych. One of them is the return to the past, most notably on Vertigo and superficially in the other two films mentioned above.
For Vertigo, with spooky atmosphere of the city of San Francisco, even with extreme use of filters. Vertigo is in my opinion, a film taken beyond the formal image, whose extreme contrast in the use of color saturation, encourages us to change the space, the real to the dream. In the famous scene of the first encuentro entre Madeleine (Kim Novak) y Scottie (James Stewart), el uso del color es llevado al límite, con un rojo saturado dominante en el que Madeleine, vestida de verde, se presenta ante los ojos de Scottie. Más tarde, observaremos como paulatinamente el color verde (símbolo de lo onírico, del pasado) va ganando terreno cromático y el film va perdiendo esa saturación inicial a favor de un misterioso halo, literalmente neblinoso, que desemboca en una de las escenas románticas más impactantes de la filmografía de Hitchcock, y de todos los tiempos: la secuencia del retorno de Madeleine “de entre los muertos” en el apartamento de Scottie, bañada de verde tras los neblinosos filters, with the passionate kiss rolled coil. In this sequence, we observed that changes the scenario, and is dreamy as owner of the film completely. Hitchcock changes the red, in principle more romantic connotation, for "still alive green, symbol of the eternal possession, much more momentous. But gradually towards the end, the film becomes saturated chromatic again, we face a prelude to the tragic outcome, without filters, return to start. Once you finish the dream, the gap reflected in the black dress Madeleine, tragically full sense into the spiral of the story of passion, Vertigo is .
Rohmer Returning to the speech in "The propeller and the idea," the obvious sense spiral Vertigo metaphorically is quoted in the title of the article, as "helix." To Rohmer, Vertigo is a film of pure suspense, building, whose mechanism of action is given by the progress of the moral passions or tragic, but "by an abstract process mechanical, artificial, outside, at least in appearance. " This statement is so ambiguous, intended to reflect, in my opinion, an omnipresence of director Hitchcock, in the sense of copyright as advocated by French critics. However, I think it's evident sense of classical tragedy of the story without metaphysical contrivances by Hitchcock. While it is true that Hitchcock gives the film a sense of geometry, with a texture much deeper, to what Rohmer alludes to in the article:
Without doubt, one of the best statements of the discourse of Rohmer. Thus, Vertigo be a kind of film in 3D, at least formally, and I even dare to look into this relationship with the use of colors. Of course, Hitchcock was far ahead of his time, to 1957, when he dared to shape Vertigo.
The spiral motif is present in many cases literally. From the magnificent credits, work of the great designer Saul Bass, to the runner down at the nape of Madeleine and Carlotta Valdes, the staircase of the tower the trunks of the redwoods, about visible forms, too, the movement The camera, completely spirals, such as the aforementioned love scene, or even the musical motifs: Bernard Herrmann, understood perfectly the latency rate in impregnated Vertigo and composed a single musical work, whose main purpose is elongated rotating constantly, slow, emotional and passionate look Hitchcock in Vertigo. A master score, the best of Herrmann.
helical sense of "Vertigo" has its moments of climax in the passion of Scottie and Madeleine. Spiral movements predict several dramatic twists in the story.
Hitchcock said later in the famous interview with François Truffaut, which gained pace in Vertigo was deliberately slow, unlike the rest of his films, with a fast and "giddy." Hitchcock, always admired for his use of the subjectivity of the characters on the screen, he said, we were attending the subjective view of Scottie, an emotional man. This statement underscores the aforementioned dream about the meaning of the whole film, through an emotional man, a dreamer (with a literal and masterful scene of a nightmare), passionate, quiet, reflective. All this is reflected with expertise in Vertigo and in the subjective sense of the film.
Again with Rohmer, back to the original title of the article "The propeller and the idea" to deepen the other end, which makes further reference to Plato's start date, to the Idea:
note, then, as his speech refers Rohmer with the reason for the initial appointment. Rohmer, falling back to that triptych consists of three films starring James Stewart, from the Platonic point of view, a point of view, very consistent, I believe, with the apparent purity romantic Vertigo.
understand it, the full meaning of the recently announced as the perfect synthesis of the fabulous formal Hictchcock Alfred film. A sense, referring constantly to classical tragedy, the destruction romantic icons of Greek mythology. Vertigo is completely bathed by the passion and tragedy of Pygmalion and Galatea , for example, or by Orpheus and Eurydice. The search for the Platonic Idea in classical mythology. Men love a woman, or an Idea.
Finally, Rohmer, ends by referring to the quote Plato in his essay, with an emotional statement that summarizes the absolute admiration for the teacher:
addition, there are as many interpretations of Vertigo. Including and Freudian psychoanalysis on Scottie's acrophobia and their meanings, that accommodate a multitude of writing about the personal motives of Hitchcock and his character Scottie, and clinicopathologic analysis and metaphor analysis, but I should not post today February 14, a day especially romantic, of course reserved for the most idealistic and passionate sense of the film, embodied by the genius of Eric Rohmer, in a tribute to his criticism film.
Just mention the historical significance has been gradually winning "Vertigo" in the history of cinema. So Far, vertigo , as Hitchcock himself said, covered expenses, it was not a success, perhaps because the American public criticism and were not prepared for so esoteric, or expect a film as hortatory of Hitchcock, whose most Catholic sense of the term - something he shared with Rohmer, "he continually faced with himself and with his work.
However, the weather is very favorable to Vertigo and today, 53 years after its release, it still has all its mysterious power, so far ahead of his time.
A real pleasure to write on two teachers, Eric Rohmer, Alfred Hitchcock, united by a test, or an Idea, in the Platonic cycle spiraling around the masters of cinema.
"In my opinion, this little book needed only text, I wrote about Vertigo, "The propeller and the idea," published in Cahiers du Cinéma in March 1959, which would be as accurate conclusion of my admiration for Hitchcock. I would then that, from now on, new editions of this book ends with the text, although there been in the original version. "
Unfortunately, Rohmer, who died on January 11, 2010 , would not know the existence of such recent reissue of March 2010, now in its desire to include that provision, by way afterword. An article that attempt to analyze in the third person, given the impossibility of its complete publication in this space, requiring them to purchase the book published by Spring.
admired Eric Rohmer and Alfred Hitchcock.
Still, quoted directly from the original article a record of the Rohmer's boundless admiration for Hitchcock. A prefatory speech presented below and after the defense team as part of the director, admits the following, regarding the quote from Plato:
"will be useless to look elsewhere then the measure of his genius. Hitch is famous enough to have no more right to compare himself. If I put as an epigraph to this review a sentence of Plato (inscribed by Edgar Allan Poe at the top of Morella, whose argument, at some points, resembles that of Vertigo), is not it intends to match our director with the author's Parmenides (or with the Extraordinary stories), but simply to propose a possible key promises, I believe, open more doors than others. If it seems a little pretentious, because I'm sorry. Of course it is not here to make a metaphysical Hitchcock: The only guilty of metaphysics would be here the commentator, which in any case the thought convenient, and by no means useless. "
The master of suspense attending Kim Novak (Madeleine / Judy) in the filming of "Vertigo."
parking, therefore, the metaphysics of speech, which belongs to read full article to simply summarize this admiration of Rohmer Hitchcock, and Vertigo . So, try to open those doors of speaking, those keys.
To begin, according to Rohmer, Vertigo completed a particular trilogy, whose first piece would be Rear Window (Rear Window, 1954), and Man Who Knew Too Much (The Man Who Knew Too Much, 1956). These three films would be twinned on grounds of form, architecture. The scenic grounds, the decor, the atmosphere, these three films, would form a kind of triptych around the architectural sense, in the strictest sense of the term. Here, I do post a small item, noting that I have no doubt that course would have added Rohmer With a film like death in the Northwest (North by NorthWest, 1959) , for example, released shortly after the drafting of this article, and I even dare say that warn the architectural motif to the end of the filmography of the British master.
The city of San Francisco, the scene of the story of "Vertigo" is photographed from several angles formal and metaphorical by Hitchcock.
But in addition, these films are linked for many reasons in the article by Rohmer, completing the formal sense of the triptych. One of them is the return to the past, most notably on Vertigo and superficially in the other two films mentioned above.
For Vertigo, with spooky atmosphere of the city of San Francisco, even with extreme use of filters. Vertigo is in my opinion, a film taken beyond the formal image, whose extreme contrast in the use of color saturation, encourages us to change the space, the real to the dream. In the famous scene of the first encuentro entre Madeleine (Kim Novak) y Scottie (James Stewart), el uso del color es llevado al límite, con un rojo saturado dominante en el que Madeleine, vestida de verde, se presenta ante los ojos de Scottie. Más tarde, observaremos como paulatinamente el color verde (símbolo de lo onírico, del pasado) va ganando terreno cromático y el film va perdiendo esa saturación inicial a favor de un misterioso halo, literalmente neblinoso, que desemboca en una de las escenas románticas más impactantes de la filmografía de Hitchcock, y de todos los tiempos: la secuencia del retorno de Madeleine “de entre los muertos” en el apartamento de Scottie, bañada de verde tras los neblinosos filters, with the passionate kiss rolled coil. In this sequence, we observed that changes the scenario, and is dreamy as owner of the film completely. Hitchcock changes the red, in principle more romantic connotation, for "still alive green, symbol of the eternal possession, much more momentous. But gradually towards the end, the film becomes saturated chromatic again, we face a prelude to the tragic outcome, without filters, return to start. Once you finish the dream, the gap reflected in the black dress Madeleine, tragically full sense into the spiral of the story of passion, Vertigo is .
The extraordinary use of color to Hitchcock in Vertigo is one of the reasons the film primarily emotional.
Rohmer Returning to the speech in "The propeller and the idea," the obvious sense spiral Vertigo metaphorically is quoted in the title of the article, as "helix." To Rohmer, Vertigo is a film of pure suspense, building, whose mechanism of action is given by the progress of the moral passions or tragic, but "by an abstract process mechanical, artificial, outside, at least in appearance. " This statement is so ambiguous, intended to reflect, in my opinion, an omnipresence of director Hitchcock, in the sense of copyright as advocated by French critics. However, I think it's evident sense of classical tragedy of the story without metaphysical contrivances by Hitchcock. While it is true that Hitchcock gives the film a sense of geometry, with a texture much deeper, to what Rohmer alludes to in the article:
"The corresponding figure is the spiral, or more accurately , the helix. The line and circle are combined through a third dimension: depth. "
Without doubt, one of the best statements of the discourse of Rohmer. Thus, Vertigo be a kind of film in 3D, at least formally, and I even dare to look into this relationship with the use of colors. Of course, Hitchcock was far ahead of his time, to 1957, when he dared to shape Vertigo.
The spiral motif is present in many cases literally. From the magnificent credits, work of the great designer Saul Bass, to the runner down at the nape of Madeleine and Carlotta Valdes, the staircase of the tower the trunks of the redwoods, about visible forms, too, the movement The camera, completely spirals, such as the aforementioned love scene, or even the musical motifs: Bernard Herrmann, understood perfectly the latency rate in impregnated Vertigo and composed a single musical work, whose main purpose is elongated rotating constantly, slow, emotional and passionate look Hitchcock in Vertigo. A master score, the best of Herrmann.
helical sense of "Vertigo" has its moments of climax in the passion of Scottie and Madeleine. Spiral movements predict several dramatic twists in the story. Hitchcock said later in the famous interview with François Truffaut, which gained pace in Vertigo was deliberately slow, unlike the rest of his films, with a fast and "giddy." Hitchcock, always admired for his use of the subjectivity of the characters on the screen, he said, we were attending the subjective view of Scottie, an emotional man. This statement underscores the aforementioned dream about the meaning of the whole film, through an emotional man, a dreamer (with a literal and masterful scene of a nightmare), passionate, quiet, reflective. All this is reflected with expertise in Vertigo and in the subjective sense of the film.
Again with Rohmer, back to the original title of the article "The propeller and the idea" to deepen the other end, which makes further reference to Plato's start date, to the Idea:
" Like Rear Window and The Man Who Knew Too Much, Vertigo is, therefore, a kind of parable of knowledge. In the first, the photographer had his back to the true sun (ie, life), and saw nothing but shadows on the cave wall (the backyard). In the second, to rely too much on police deduction, the doctor erred also the target, which was right in changing women's intuition. Here, the detective initially fascinated by the past (figured by the portrait of Carlotta Valdes that he tries to identify the false Madeleine) will be sent continuously look to another: not a woman in love, but the idea of \u200b\u200ba woman .
Through Scottie, we enter the emotional depth of a man in love with a woman and / or women Idea.
note, then, as his speech refers Rohmer with the reason for the initial appointment. Rohmer, falling back to that triptych consists of three films starring James Stewart, from the Platonic point of view, a point of view, very consistent, I believe, with the apparent purity romantic Vertigo.
understand it, the full meaning of the recently announced as the perfect synthesis of the fabulous formal Hictchcock Alfred film. A sense, referring constantly to classical tragedy, the destruction romantic icons of Greek mythology. Vertigo is completely bathed by the passion and tragedy of Pygmalion and Galatea , for example, or by Orpheus and Eurydice. The search for the Platonic Idea in classical mythology. Men love a woman, or an Idea.
Finally, Rohmer, ends by referring to the quote Plato in his essay, with an emotional statement that summarizes the absolute admiration for the teacher:
"Geometry is one thing, art is another. [...] Poetry and geometry, far from clashing, rowing together. [...] Everything becomes circular, but no ripples curl, revolution leads us always a little deeper into reminiscence. Shadows happen to the shadows, the mock drills, not like the fake walls are swindled, or mirrors reflected to infinity, but by a kind of movement even more disturbing, seamless, and that has both the softness of the circle and the edge of the straight line. Ideas and forms follow the same route, and because the form is pure, beautiful, rigorous, surprisingly rich and free, we can say that the films of Hitchcock, and Vertigo first aim, in addition to those who know captivate our senses, the ideas, in the noble sense, the term platonic. "
Alfred Hitchcock, omnipresent in all his films, even physically by their usual cameos. Like a modern Pygmalion Hitchcock reflected in "Vertigo" as ever, his ideal woman in the film, the romance and classical tragedy.
addition, there are as many interpretations of Vertigo. Including and Freudian psychoanalysis on Scottie's acrophobia and their meanings, that accommodate a multitude of writing about the personal motives of Hitchcock and his character Scottie, and clinicopathologic analysis and metaphor analysis, but I should not post today February 14, a day especially romantic, of course reserved for the most idealistic and passionate sense of the film, embodied by the genius of Eric Rohmer, in a tribute to his criticism film.
Without doubt, this is the best sequence of love shot by the master of suspense, and one of the best kisses shot in the history of cinema ... "Vertigo" is a masterpiece.
Just mention the historical significance has been gradually winning "Vertigo" in the history of cinema. So Far, vertigo , as Hitchcock himself said, covered expenses, it was not a success, perhaps because the American public criticism and were not prepared for so esoteric, or expect a film as hortatory of Hitchcock, whose most Catholic sense of the term - something he shared with Rohmer, "he continually faced with himself and with his work.
However, the weather is very favorable to Vertigo and today, 53 years after its release, it still has all its mysterious power, so far ahead of his time.
A real pleasure to write on two teachers, Eric Rohmer, Alfred Hitchcock, united by a test, or an Idea, in the Platonic cycle spiraling around the masters of cinema.
Javier Ballesteros
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