Vintage Poster
Hitchcock Vertigo
Regular price
€24,99
Sale price
€21,99
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With this Poster featuring one of Alfred Hitchcock's films, Vertigo, your decoration will be enhanced with an elegant vintage style.
- Paper characteristic:
- 🎨 Canvas: world standard in terms of printing and imitating a “painting canvas” appearance .
- By default, the poster contains a 4 cm white border for framing (frame not included). If you don't want it, please choose "without white border".
- ✅ Size: several choices available . ✅
- Great UV resistance .
- Maximum color vibrancy, without reflections .
- Recycled paper, guaranteeing respect for the environment.
- Poster carefully packaged and delivered in a protective tube for total protection .
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FREE STANDARD DELIVERY .
⚠️ Frame not included. ⚠️
Description of this Alfred Hitchcock Poster
Vertigo (original title: Vertigo) is a 1958 American color thriller film (Technicolor) directed by Alfred Hitchcock. At the time of its release, Vertigo was not unanimously successful with the public and critics. Despite the brilliant technical innovations, the public did not respond enthusiastically to this psychodrama. However, in the decades since its creation, it has become one of Hitchcock's most important and popular works.
Technical gimmicks such as simultaneous use, rubber lens close-ups, and tipping backwards as an expression of Stewart's vertigo became familiar tricks. Hitchcock uses the simultaneous use of drive and zoom to present a feeling of claustrophobia on the cinema screen using a model of a staircase.
John "Scottie" Ferguson is a San Francisco police officer who, according to the prologue, left the force because his fear of heights prevented him from saving his partner's life. He occasionally works as a private detective. His old friend, Gavin Elster, hires him to watch over his wife, Madeleine, a mysterious and cold blonde who, according to Elster, has become obsessed with the drowning death of her ancestor, Carlotta Valdez, in the 19th century. She spends every day in a museum, contemplating the portrait of Carlotta. Scottie follows her in the car and observes her. The first half of the film is a ghost story: Scottie becomes increasingly attracted to the neurotic woman and to the theory that Madeleine is the reincarnation of the woman painted in her portrait and that she will also die. When Madeleine jumps into San Francisco Bay in front of Scottie, he comes out and they meet in person. Scottie quickly falls in love with Madeleine. Although she seems to have reciprocal feelings, Carlotta's "attraction" is stronger, and Madeleine ends up throwing herself from the top of a church tower. He collapses again, because his fear of heights prevented him from saving her. Scottie is placed in a mental hospital for a time. The film suddenly becomes more tense when the man accidentally meets Judy Barton, a brunette saleswoman whose features remind him of those of the deceased Madeleine. They get involved. Scottie slowly, gradually transforms Judy into Madeleine. He tries to force the rebirth of his lost love by manipulating her: he dyes her hair, changes her clothes, until Judy is completely transformed into Madeleine. She calmly tolerates Scottie's strange requests and obeys him. Even from the obvious signs, man cannot see the deception. But when Judy puts the locket Carlotta wore into the painting, Scottie realizes the bitter truth.
