Tag Archives: Hitchcock

I’m Alright

Watching Rope, a Hitchcock film. Thinking of death and life instinct, as is my wont. Diffused? As Freud wrote. More like blended, intertwined, bonded. Two characters loom over a body they’ve just strangled, their heads nearly touching; their bodies almost inseparable. They are breathless, fearful, yet still excited. One lights a cigarette, like he just came.

I’m alright, don’t nobody worry about me. Why you gotta give me a fight? Why don’t you just set me free. I woke up with those words swimming in my head, leftover from a dream about which I’m still chuckling. My wife rises with me, picks up her thought from the night before, about my aged dad and his chuckling, teasing ways. He mumbles like Popeye, dribbles asides that few around him hear. I’m distracted. He wasn’t in my dream, I say. Jason was. Again. Really? My wife asks, like she’s surprised. It is surprising, actually—the clarity of the scene anyway. It was like the kind of political rally I don’t attend: boisterous, right-wingish, congested with people, specifically people who look ill in mind and body. They’re excessively round, swollen, circumscribed by bad body odor, and with their words they emit bile.

Ostensibly, this is a light hearted gathering, eliciting daisy smiles and cheerleader glee. On stage there’s an entourage of performers surrounding a protected, totemic figure. A pocket of circus freaks, including thwarted dancers treading tiny steps in tight spaces, lumpen musicians protruding brass above heads, consumes a platform. There are tiers to this cake-like riser, as if this band/invading force is atop a battleship that has impaled an arena that is vast yet closeted, spurring claustrophobic feeling. A victorious troupe is onstage, rousing the population with a triumphant song that boasts of something untrue: we’re all alright. For some reason that dreams don’t bother explaining, my back is to the stage, not a part of all this. I don’t wish to be part of all this, I should amend, if I am to accurately, theoretically reflect my conscious mind.

My unconscious friend. Where is he? Oh, that’s right. He’s not here. He’s gone now. But wait, is he here? In coded form, condensed or transformed, repressed but still living in this scene. About this totemic figure on stage: where’s he at? When is he going to show his face, reveal his identity? I see him finally, as I glance over my shoulder at the stage and look up. I am in the front row, like I’d gotten there early (as is my wont), like I’d been eager to attend this monster-truck atrocity. Now I can’t look at all the ugliness I chose. I glimpse the figure’s image through bodies, smiling at me, catching my eye, like he’s spying. He’s also singing, albeit lightly, barely above the crowd, despite being the only one with a microphone. Kenny Loggins. Eighties icon, only just. The song suggests Kenny Loggins, though the figure I see in slivers is a hybrid of Jabba the Hut and John Sebastien, a sixties willow who sang of love, magic and, I don’t know…hippy shit.

What are you looking for? Hard to say, but that might have been the pissy, quarreling question I’d directed at my wife. She is also in the front row, looking down, fussing with her purse, looking for something, attending to a detail I might have overlooked. It may have been important, but it distracted me from something important. Within a compressed, discontinuous moment the Kenny Loggins figure was away from the stage, leaving the arena through a giant door that suggested a fortress. I become excited as I glance around again, regarding the bemused looks of the assembled trolls, the disappointed, professional wrestling crowd of which I was not a part. Me? No way do I belong here, with these people.

I’m alive. I think that’s what I want to say. That’s why I shouldn’t be here, having this dream. It’s not happening. Well, what happens next is the return of the repressed. The guy, the totem, the Kenny Loggins whatever: he’s back; back in black, as Jason might have quipped, singing a different tune. Da-nuh, Da-nuh, Da-nuh: wish I knew how to write the chord sequence. Jay might have known, though he’d have preferred his amendment of lyrics. Fuck chicks, drink beer, do cool thing with the guys, yeah!: the screeching essence of classic rock, he’d opine. Or would that have been me analyzing his bit? That would be me trying to keep up. When he was truly on, Jay’s quips and other jests fell like rainfall. With him, droplets dashed at you, made you laugh and follow along, but were too numerous to retain. That’s one reason Jason didn’t write, actually. He had too much to try and capture in print. Anyway, back to my dream. Kenny L re-entered the arena, dressed in formal black attire, flanked by a posse of similarly dressed roadies. They form a phalanx at the base of the stage, clear a path for the totem to rise again and seize his ceremonial role. Who knows why he left in the first place. Perhaps he was dissatisfied—disgusted even, like I was—by the obnoxious brays, the fascist “We Will Rock You” atmosphere.

Now he is back with dignity, portending a solemn requiem, something that would be in keeping with his status, at last. I waited, I think, in the temporal blur of dream space, for him to ascend the tiers of the battleship stage. At the summit is a cloudy white surface, puffy and smooth, like a parody of cartoon heaven, with brass pillars framing its shape. A bed. Brass of another kind, trumpets, sound out from the bloated figures below. The dancers spread out, find their feet as their limbs come alive and the music swells. Then, at its climax, the totem lays himself down upon the bed and sinks into its mist. A deputy steps up with a speaker and in a moment’s silence as the music lulls into a false ending, he says the following, “And now, ……. (the figure is not identified in the dream) will perform an impersonation of a man in an ICU”. I woke up, laughing darkly. I’m alright, I think.

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Falling for Vertigo


Went to see one of my favorite old films last night, Hitchcock’s now classic Vertigo. I write “now” because the film’s rise to lasting fame has been gradual, from an original position in the shadow of North By Northwest and Psycho, to its present-day status as one of the greatest films of all time. Actually, according to a critics’ poll recently released by the British film institute, Vertigo has now been voted the greatest film of all time, apparently dislodging Citizen Kane, previously a perennial winner of the accolade. While this is gratifying for the film’s legions of fans, many of whom were on hand at The Castro Theater to watch a restored print and to see a live appearance by Kim Novak, I wonder the following: what is it that changed, gradually or not, over the last sixty years to make this once (relatively) rejected film such an iconic piece of cinema?

It’s surely not the visual style of the film, which is unforgettably dreamy, colorful and strange, but no more so than it will have appeared in 1958. It can’t be the acting, which on the surface, will have seemed typical for the period. There was James Stewart, for example, more or less in his prime, being as expressive and likeable as he ever was, despite the dark complexity of his character. His co-star was the obligatorily beautiful Kim Novak whose acting may have seemed stiff upon the film’s original release, though her vapidity has a certain logic to it given the story’s themes. However, come back Grace Kelly, some may have pined at the time. And it can’t have been the direction, for again, in Alfred Hitchcock audiences were faced with a filmmaker at the height of his career, delivering one suspenseful gem after another. Indeed, it wasn’t until the latter half of the sixties that his commercial magic started to wane.

Only when I consider Vertigo alongside other Hitchcock films, observing its taboo themes, plus the nuances in the acting, or the hypnotic music, that its danger and fantasy shine through, justifying the delayed praise but also explaining a once tentative reaction. The plot features a retired police detective, played by Stewart, who discovers he has vertigo while on the job, which leads to the death of a fellow policeman. In the aftermath, he is approached by an old college friend to do a private job: follow this man’s wife, who is suicidal and probably crazy—possessed by an obscure historical figure in local (San Francisco) folklore named Carlotta Valdes. This friend wants Stewart’s Scottie character to follow his wife Madeleine and gather evidence for a later institutionalization. In Rear Window, Stewart made an injured voyeur a winning character. In Vertigo, he takes his Scottie character to another level.

Scottie reluctantly takes the college friend’s job but quickly sinks his teeth into the intrigue, following Madeleine from churches to department stores, to museums, and eventually to a private spot beneath the Golden Gate Bridge where she will jump into the bay so that Scottie can dutifully save her. He does save her from drowning and at this point in the story two things ought to be clear: first, that Scottie is falling in love with Madeleine, and secondly, that this will have been expected by Madeleine, and also by the friend that hired Scottie. So far, everything seems a little contrived, a little unrealistic (even for the fifties) and yet, as Martin Scorsese once remarked about this film, it doesn’t matter. This is shaping up as a doomed love story, not just a suspense thriller, though nothing is predictable. A viewer might pick up that the film’s title, a reference to Scottie’s affliction, is a metaphor for the “falling” experience of love and obsession that follows.

After the rescue, Scottie gets closer to Madeleine, who reciprocates his feeling, and becomes embroiled in her obsession, which is to emulate the suicidal mania of her alter ego, the long-deceased Valdes. Though he gets close to analyzing the ghostly elements, discovering the links in Madeleine’s dreams if not understanding her underlying guilt, Scottie fails to prevent his lover’s death, which occurs as she falls from the tower of an old California Mission—a predestined end. Or, that is what appears to happen shortly after the halfway point of the film. Thereafter, Scottie recedes into shame and frozen grief: he is institutionalized, having absorbed Madeleine’s apparent psychosis. Then he wanders SF streets, visiting places Madeleine frequented, and then visiting her grave. In another contrived sequence, he sees a Madeleine look-alike in the street and immediately approaches, asking this woman to dinner. By now, Scottie’s transformation from a zealous detective to a stalker (which seemed like it was coming all along) is complete, and for the remainder of the film, Stewart’s character gets creepier. Much to the film legend’s credit, this doesn’t render Scottie unlikeable, as his perverse pursuit of Judy (Madeleine’s seeming look-alike) is inflected with grief and endearing passion. Even as Scottie seduces the sympathetic Judy, and later controls everything from her clothing to her hairstyle to create a Madeleine facsimile, the audience retains its sympathy for him. As Judy emerges finally into the molded image of Scottie’s lost love, there is a sense of triumph alongside the painful tragedy that is hers and his.

The brilliance of this scene is layered with irony: from a medium that creates falsehood as a matter of habit, and from the mind of a great manipulative director, both a woman and an affair are brought back from the dead and thrust into a man’s fantasy. The film mirrors the actions of the protagonist, yielding a mixed feeling for an audience: one can admire the craft, the controlling of events, while finding reprehensible and sad the domination of the Judy character. And yet, things aren’t as simple as they seem. In the climactic sequence, Scottie learns what the audience already knows: that Madeleine and Judy are the same person, and that Judy was an impersonator, an opportunist paid by the college friend to lure Scottie to be false witness to a murder. Because of his penchant for vertigo, for “falling”, he cannot follow Judy to the top of the tower, so he doesn’t see that the friend has his already murdered wife in his arms, ready to drop her before Scottie’s hapless gaze.

Kim Novak’s Judy character, like Scottie, retains audience sympathy despite colluding with the murderer, partly because she seems like an exploited figure, but also because she is like Scottie: she is also acting out of misguided and reckless love. I think this the essential reason that Vertigo has enduring appeal: despite the perversion, the opportunism, the impulsivity and bad decisions, the fantasy of love remains an intoxicant, and Vertigo, with all of its color and cinematic verve, is like fifties psychedelia—a fantasy of dark love. The problem or not (depending upon one’s point of view) of non-wholesome love is that too many people in society identify with how complicated and twisted love can be. It can make innocent and lovely women like Kim Novak seem traumatized and a bit dull. It can make nice guys like James Stewart seem menacing.

Not everyone will get it, and even those who do might still try to simplify matters. As the end credits ran, I overheard stupid questions like, “what happened to the bad guy?” (Scottie’s murdersome friend), as if the just capture of that figure would have rendered the end satisfactory. Actually, it was irrelevant to the story’s point. During the Castro Q & A with Kim Novak, the now aged actress was troubled with questions about MeToo movement issues and how they related to her character in Vertigo. While praising the manipulative, neurotic genius of Hitchcock, Ms Novak made the worthy point that her Judy character represents women whose personhood is denied or subsumed within male obsessions. But even this perspective seems facile, for her character is not without culpability for having embroiled herself in a plot whose aims will have been clear from the outset. Perhaps one of the secret lessons of films like Vertigo—indeed, of art that takes time to infiltrate minds—is that we need art to tell us things that contemporary politics and topical comment can’t: that things aren’t as simple as they seem.




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Sprawling, muddled and hard to follow

Consider the following beta elements: Hitchcock, Bolinas, fire, towering infernos, The Wizard of Oz, terrorism, telecommunications, and Birnum Wood. A meaningless collection of terms? Maybe…that’s what you’d think upon a quick read through of my novel, Crystal From The Hills. My “sprawling”, “muddled” brainchild was written intermittently over the last three years, and is currently receiving a smattering of appreciation, interspersed with triage-like criticisms, some valid and useful, some merely indicative of a drive-by reading. It’s early days yet. Mostly there is silence and the resounding feel of indifference. As with Weed, my villain, there is an overriding absence.

It’s to be expected. I’m not sure what kind of readership I’m aiming for, except for one of fantasy: an ardent following that reads things over and over again, ever searching for nuance. One review suggested a Joycean or Proust-admiring following–wrong. A book of minutia? The word implies triviality, or meaninglessness. I guess Wilfred Bion’s concept of beta elements doesn’t register for average readers; it doesn’t resonate. What do I mean? you may wonder…may wonder. Well, here goes, again: in drama, as in life, there is repetition; repetition that reveals. That’s basic Freud. The paraphenalia of society serve as microcosms of existence, illustrating the unconscious while it fills out the canvas of life. Chris Leavitt’s life is a canvas of elements, speaking in code and then blended into an inchoate mass. Alfred Hitchcock was a fan of psychoanalysis, which informs the themes of CFTH; the same is true of the many motion picture references contained in the novel. Other examples: Macbeth was a man who denied reality, and who failed to understand clues. Fires are part of the back-story of the protagonist, while towering infernos and terrorism now fuel the paranoia of American culture. Texting, e-mail, and the ubiquity of cell phones may dominate as mediums of communication, but it is ancient oral traditions that will whisper truths and pass them along, perhaps especially in small towns in West Marin County, where cell phone towers don’t exist still. Bolinas: the Luddite enclave. May the best grass roots movements of the future be born amongst your wooded seclusion. Within the mass of elements there is order and meaning, and for the attentive observer (as in reader), there is a pattern; an internal logic that ultimately should not baffle. Thus, events unfold in a manner that should feel familiar, perhaps like deja vu. There is a sense of things congealing with centripetal urgency (oops! careful Graeme–that’s a lot of syllables you’re stacking there.)

I guess not everyone will see things as I see them. That, after all, is the point of Crystal From The Hills. Take, for example, a climax of sex in CFTH (not the only climax). A critic has complained that a sexual episode between Chris and his girlfriend Jill–a clumsy grapple and possible rape–retroactively colors their relationship. My response: this passage is foreshadowed about once every ten pages of the novel without actually revealing the event (of course, I’m doing that here). Colors the relationship? The protagonist is guilt-ridden yet avoidant; Jill? she is conflicted: contemptuous and shamefaced, yet uncertain in her revenge. The explicit revealing towards the end is matched by the undercurrent that develops over the course of the narrative. The unconscious in which I place faith enables the reader to find logic and continuity in the unfolding. Meanwhile, the psychologically-minded know that the traumatized take their time, forget and distort, and even when finding clarity, they gauge the safety of those poised to hear their secrets. Is it safe to let you know what’s really been happening? How far have you made it into the novel? Are you ready to hear what its characters really have to say?

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