I did not really like the movie and I don’t think it should of been as acclaimed as it was. I don’t particularly care for the film’s symbolism – Saul Bass’s spirograph credits for instance, the nightmare sequence, or about San Francisco or what it means. Furthermore, Laura Mulvey criticizes the film with her Gaze Theory when she say’s, ” starting point the way film reflects, reveals and even plays in the straight, socially established interpretation of sexual difference that controls images, erotic ways of looking and spectacle.” I disagree with Mulvey because I feel I have a different interpretation than a man does, thus I do not feel any pleasure from looking when a male probably would. However, I thought it was interesting how Hitchcock utilized technology in the film. For instance the silent sequence of Scottie tailing Madeleine. The camera floats, when it follows the pale car, when Kim Novak appears like she is a ghost, or when Scottie is just a floating head. Also, the animation in the credits was quite revolutionary for the time. So, I would rate this film somewhere in the middle of the rest of the Hitchcock films I have seen.
Deutelbaum, Marshall. “A Closer Look at Scopophilia:Mulvey, Hitchcock, and Vertigo.” In A Hitchcock Reader. Ames: Iowa State University Press, 1986. (P. 234)