Vertigo: Another Life for Alfred Hitchcock’s Classic

Vertigo - One Sheet

Exclusive Guest Article

By: Dan Auiler

This article is the second in a series of four guest articles to appear on this page in celebration of Universal’s release of ‘The Alfred Hitchcock Classics Collection.’

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Vertigo in 4K—The clarity, the better black levels from HDR, the extraordinary color—but I guess at this point it will still remain an underrated achievement by Robert Burks (Hitchcock’s cinematographer). Then we have the ever improving quality of the film’s sound to match its stellar image quality. These upgrades continue to assure that at least another generation of people will become caught up in the whirlpool of this very, very interesting film. You will notice that I wrote “interesting.” You may have also noticed that I have not bowed before the film with the usual pile of critical adjectives that are usually bestowed upon it. Indeed, even at the time of its original release, Vertigo was Hitchcock’s “masterpiece.” It says so right on the Saul Bass poster.

Vertigo is Hitchcock’s masterpiece. We know that. We keep coming back to the film not to revel in an artist’s brilliance. If you want showboating Hitchcock, you had better look at his more popular efforts—Psycho, North by Northwest, Rear Window—the list is so vast that they are enough to elevate Hitchcock to our attention and to continue our unashamed veneration. He deserves all the praise and his critical position. Cinema is better for this and we are better because of this. I suggest that more importantly, Vertigo will survive because of this. The film has been a survivor despite several damning features. The film was a dud on release. No one, most especially Mr. Hitchcock, was really happy with the outcome. Average box office indicated that his audience agreed. Do you know what you want when you sit down to watch a movie? I don’t. I once thought that I knew.  

I saw Vertigo for the first time during its first very troubled re-release after Alfred and Alma had died. Vertigo had been trapped as the prisoner of its creator and was seldom shared or shown due to a quirk in contracting and money. Hitchcock held the rights to a handful of films made with Paramount. Three of these films are in this 4K collection. Only The Birds is an actual Universal picture. It is fair critical assessment to write that after The Birds, Hitchcock had reached the end of his career. The films that follow are fine and manage to do the most important thing required of late career films—they don’t tarnish his reputation.

This second life of Vertigo was nearly as damaging as its first life. I was there and witnessed it. The film not only looked far worse than the other films packaged with this 1984 release, but it was determinedly the “ugly Betty” in the group. I don’t even think Universal bothered to look at the film before releasing it as it had an unfortunate, and to audiences hilarious, repeated moment. The “it can’t matter to you” scene printed twice. The moment was already a snicker line. Seen twice in an obvious printing error made it a hoot. The fact any audience saw such an easily caught physical mistake indicates just how important this prestige picture was to the studio.

Vertigo survived though to hold the original acolytes who were so very lucky to see something I have only dreamt of seeing, the film in 1958 in that ephemeral pristine moment of intended perfection, the premiere in San Francisco in May of 1958. Had you been there, you would have seen the film as perfect as 1958 could allow in IB Technicolor and in Vistavision. 

Vistavision was almost never screened in 65mm because of the cost and work involved to make a theater ready for such a thing. Major film theaters in our biggest cities may have shown a week long engagement in the large format after that initial screening, but after this short limited engagement, no one would see Vertigo in the beautiful format that it filmed in (with colors approaching the original Technicolor) until 1997. It only took 40 years and two generations!

No other film in the art form’s brief history has received such an essential preservation. Why? Why Vertigo?  The film’s dialogue echoes in my mind: “Why did you pick on me? Why me?” I have to be careful here. The emotion of the film always overwhelms me. I cannot hide how deeply the film affects me. I’m embarrassed to write that even now my cheeks are wet with tears. Real, authentic deep-well tears. It may be that you will think I’m just an old film geek, and it may be foolish. It might be “sentimental.” (Ah! Hear that? Another echo: “You shouldn’t have been that sentimental.”) The film overwhelms me as I know it does so many others. I am watching it again even now, but I keep coming back to it—overwhelmed and shattered by the entire last reel.

Did I already mention that I no longer know why I even watch movies?  I don’t know anymore, but in that strict Zen Kōan that Vertigo has become for film audiences, filmmakers, historians, and fans, I do know… It would have been better to write that there are no words to properly articulate why films—and Vertigo in particular—remain vital to me. By “vital,” I mean “so fucking important that there is no Dan without Vertigo.”

I’m sure—like a creature from Poe—it’s easy to imagine that I’m some wild Gollum-like thing who is screaming for his precious. I am. And forty years from now, where will you be? Out in the sunshine of tomorrow? Or here with me in the darkness of the filmed past—portals of the past—swimming against the whirlpool… against the riptide that is Hitchcock’s—Wait… No. Our—Our Masterpiece, Vertigo.

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Dan Aulier Books

Dan Auiler is the author of Vertigo: The Making of A Hitchcock Classic, Hitchcock’s Notebooks, and Hitchcock Lost. He also contributed to Ken Mogg’s The Alfred Hitchcock Story, Robert Jones’s Hitchcock’s California, and a TASCHEN volume entitled Billy Wilder’s ‘Some Like it Hot.

Offbeat 4K UHD Review: Halloween

Blu-ray Cover

Distributor: Lionsgate Films

Release Date: September 25, 2018

Region: Region A

Length: 01:30:56

Video: 2160P (HEVC, H.265)

Main Audio: 7.1 English Dolby TrueHD (48kHz, 24-bit)

Alternate Audio: Mono English Dolby Digital Audio

Subtitles: English, English SDH, Spanish

Ratio: 2.35:1

Notes: This title has seen many DVD releases and two Blu-ray releases. This marks the film’s UHD debut. Special features are never consistent when it comes to this particular title, and this creates a problem for anyone who wishes for a clean upgrade. The transfer for the UHD disc was sourced from different elements than the included Blu-ray (see below for a more detailed analysis).

Halloween

“Well, you call it a slasher film. I guess the original slasher film was Psycho. That was the film that all of these things are kind of based on… Psycho was the big daddy of them all. And it had a literal slashing scene in it! The famous shower scene. So I don’t think I created anything…” –John Carpenter (Crave Online, Oct 23rd, 2013)

Is it even possible to discuss John Carpenter’s classic without mentioning Psycho? It’s difficult to find an article about (or a review of) Halloween that doesn’t at least mention Hitchcock’s landmark film. In fact, Roger Ebert opened his original review of Halloween with a quote by Alfred Hitchcock before he proceeded to compare the two films:

“‘I enjoy playing the audience like a piano.’ –Alfred Hitchcock

So does John Carpenter. Halloween is an absolutely merciless thriller, a movie so violent and scary that, yes, I would compare it to Psycho. It’s a terrifying and creepy film about what one of the characters calls Evil Personified… Halloween is a visceral experience — we aren’t seeing the movie, we’re having it happen to us. It’s frightening. Maybe you don’t like movies that are really scary: Then don’t see this one… Credit must be paid to filmmakers who make the effort to really frighten us, to make a good thriller when quite possibly a bad one might have made as much money. Hitchcock is acknowledged as a master of suspense; it’s hypocrisy to disapprove of other directors in the same genre who want to scare us too.

It’s easy to create violence on the screen, but it’s hard to do it well… ” –Roger Ebert (Chicago Sun-Times, October 31, 1979)

John Carpenter during the production of Halloween (1978)

John Carpenter during the production of Halloween.

The truth is that there is very little “violence on the screen” after the film’s opening murder sequence. Carpenter plays by the same rules utilized by Hitchcock while maintaining a style all his own. It is no small wonder that Ebert goes on to describe Carpenter’s expert command of the frame—it is a command that demands participation from the viewer. The film’s killer, Michael Myers, looms ominously in the background and usually remains in the shadows (or is seen at some distance). He is a malignant force that can be felt even when our eyes might miss him, and one never knows where he might turn up next. At other times, he will appear mysteriously in the foreground as his potential victims complacently go about their lives in the distance. Either way, the audience is aware of his presence while the teenagers remain blissfully in the dark—and this is Hitchcock’s primary rule for creating suspense. We know something that the characters do not know, and their ignorance may very well cost them their lives.

The emphasis is on the stalking sequences instead of the inevitable carnage. The eventual deaths contain little violence and relatively little blood. It simply isn’t needed. Carpenter, like Hitchcock before him, shows his audience the threat before making them wait for the violence. He has an uncanny ability to slowly build an audience’s anticipation until the suspense is nearly intolerable.

Janet Leigh and Jamie Lee Curtis

Mother and Daughter: Janet Leigh with Jamie Lee Curtis.

However, while one cannot deny that Hitchcock’s influence on Carpenter can be felt while watching Halloween, one doubts if a thorough comparison to Psycho would withstand serious scrutiny. Frankly, most of their commonalities are somewhat superficial. One imagines that Halloween’s various homages to Hitchcock’s film is responsible for linking these two vastly different exercises in suspense: Dr. Sam Loomis was named after John Gavin’s character in Psycho, Marion Chambers seems to be an amalgam of Janet Leigh’s Marion Crane and John McIntire’s Sheriff Chambers, and Jamie Lee Curtis is the daughter of Janet Leigh. One could argue that both Bates and Myers favor the butcher knife as their weapon of choice, but this isn’t a particularly revelatory observation.

Janet Leigh (Psycho) and Jamie Lee Curtis (Halloween)

Janet Leigh as ‘Marion Crane’ in Psycho and Jamie Lee Curtis as ‘Laurie Strode’ in Halloween.

Sam Loomis and Dr. Sam Loomis

John Gavin as ‘Sam Loomis’ in Psycho and Donald Pleasence as ‘Dr. Sam Loomis’ in Halloween.

Several scholars have chosen to compare the original murders of Michael Myers and Norman Bates from a quasi-psychological perspective and argue that Myers murdered his sister for showing another boy sexual attention just as Bates dispatched his mother for having a relationship with another man. This reading of the film suggests that, like Norman Bates, Myers is a stunted adolescent. Norman Bates forms an alternate personality to keep from facing the consequences of his actions while Myers literally wears a mask to keep reality at bay. This would certainly explain why sex seems to act as a trigger for Myers, and such an examination would definitely be more interesting than the popular opinion that Halloween is a kind of puritanical morality play about the evils of carnal knowledge (a reading that Carpenter himself has always argued against). It might be very interesting to view the film from this perspective, but it is impossible not to feel that this particular argument is a bit overreaching.

Perhaps it doesn’t matter either way. After all, the fact that Halloween is still being discussed and analyzed some forty years after its initial release places it in a distinguished group of timeless classics—and this is inarguably something that the film shares with Psycho. What else matters?

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The Presentation:

4 of 5 MacGuffins

Lionsgate houses their UHD and Blu-ray discs in a standard 2-disc UHD case with a sleeve that includes the same iconic jack-o’-lantern artwork that graced the film’s most popular one sheet. This is as it should be! It is one of the best marketing images that has ever been produced for a horror film. The first pressing also includes a sleeve with this same artwork that will help protect the case and the discs that are housed inside.

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The UHD menu is reasonably attractive and easy to navigate. Meanwhile, the included Blu-ray features the same animated menu seen on Anchor Bay’s original Blu-ray release of Halloween in 2007. (It is exactly the same disc. The only difference is the artwork that decorates it.)

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Picture Quality:

UHD: 4.5 of 5 MacGuffins
Blu-ray: 3.5 of 5 MacGuffins

Disc 1: 4K UHD

This transfer was approved by John Carpenter and Dean Cundy, so fans can breathe a collective sigh of relief! This disc offers the viewer an option of HDR10 and Dolby Vision. The film has been scanned at native 4K for this release, and the result is really quite pleasing to the eye. There is, of course, a natural patina of grain inherent in the image, but this only adds to the filmic look of this overall transfer. The significant increase in resolution and dynamic range has resulted in a crisper and significantly more detailed image. The anamorphic lenses tend to result in a softer look at the edges of the frame, but this is hardly the fault of the transfer. Everything looks terrific here! The best news of all is that the color timing seems to correspond with the filmmaker’s original intention and mirrors the overall look of the “35th Anniversary” Blu-ray release.

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Disc 2: Blu-ray

It is next to impossible to review this image transfer without also discussing the film’s “35th Anniversary” Blu-ray released in 2013. This disc is actually an earlier 2007 release—complete with the same opening previews, menu, and transfer. It has simply been decorated with artwork from the 2013 release. This may be confusing, but trust us when we tell you that this is the 2007 version.

The transfer included here simply isn’t inaccurate and doesn’t represent the original intention of those who worked on it. It is way too bright as the image practically glows, and the color timing is a complete mess. This throws the film’s tone off-kilter (a real tragedy as Carpenter has an amazing ability to create an atmosphere of dread). Unfortunately, these aren’t the only areas in which the later edition bests this disc in terms of image quality. The early exterior scenes were vastly improved and exhibit less vibrant colors and more natural skin tones than this particular transfer (as the colors here read much too warm). It had a crisper and more detailed image as well and clarity isn’t quite as good here either.

When the “35th Anniversary” edition was released, marketing materials highlighted the fact that it was a new transfer that had been overseen by Dean Cundey (the film’s cinematographer):

“A lot of the previous editions had just been made from a print or a previous digital version or whatever. I was very impressed by the fact that they wanted to make this sort of the definitive copy. Obviously, Blu-ray is, at the moment, state-of-the-art, and the fact that they went back to original materials, the camera negative and IP, and brought John and myself in to sort of approve the work and make sure it looked like our original intention, was highly commendable, I think. Yes, they did take advantage of all the latest technology, with scratch and dirt removal, things like that, so it is a very pristine example of the movie we made.” –Dean Cundey (Liner Notes: “35th Anniversary” Edition, 2013)

Such careful preparation was obviously in response to this disc, so those who own the “35th Anniversary” Edition would be wise to hold on to it if they wish to own the very best transfer in both the UHD and Blu-ray formats.

One wonders why they chose this disc over the other edition, and the only reason one can reasonably conceive is that this disc was chosen so that Halloween fanatics could have the supplements included here (since the supplements on the UHD have been carried over from the “35th Anniversary” edition). However, they could have easily put them on the freshly minted UHD along with the others if this was the reasoning behind this choice.

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Sound Quality:

UHD: 4 of 5 MacGuffins
Blu-ray: 4 of 5 MacGuffins

The disc employs a TrueHD 7.1 lossless mix that is an obvious upgrade from the previous disc. The film’s iconic score has never sounded more dynamic and the dialogue is noticeably clearer than in the previous Blu-ray edition. This is especially clear in an early car scene where Dr. Loomis and Marion Chambers are driving in the storm. In the previous release, the dialogue seemed to be swallowed by the sounds of the storm. Here it seems to be balanced at a more acceptable level. The track has decent range and clarity making for a solid listening experience. It would be unreasonable to believe that a 7.1 mix on an older low budget film could sound any better than it does on this disc.

It will irritate most purists to discover that a high definition transfer of the film’s original mono mix isn’t included here, and I must admit that I include myself in this group. I’m tempted to give the sound a three star rating do to this oversight, but one doesn’t wish to give an unfair assessment of what is actually here.

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Special Features:

UHD: 3 of 5 MacGuffins
Blu-ray: 4 of 5 MacGuffins
Total: 4.5 of 5 MacGuffins

Disc 1: 4K UHD

Every supplement featured on this UHD disc has been carried over from the “35th Anniversary” Blu-ray edition of Halloween.

Feature Length Audio Commentary with John Carpenter and Jamie Lee Curtis

People will likely feel that this new commentary is superior in some ways to the track on the 2007 Blu-ray disc that has been included in this same package. That track includes John Carpenter, Jamie Lee Curtis, and Debra Hill—but all three of these collaborators were recorded individually for that track, and the result isn’t nearly as fluid as the conversation between Carpenter and Curtis that is featured here. Having said this, the other track might be a bit more informative than this one. Both tracks should be of interest to fans of the film.

TV Version Footage – (SD) – (10:46)

This collection of scenes is actually my favorite supplement on the UHD disc. They were shot by Carpenter during the production of Halloween II in order to extend the film’s length for its original television broadcast, but he claims to regret doing this and feels that he sold out. It’s easy to understand why the director doesn’t care for them as they add nothing to the proceedings and interrupt the fluidity of the overall film. Having said this, one is happy to have them included on this disc for fans to revisit.

The Night She Came Home!! – (HD) – (59:43)

This featurette gives fans a glimpse of Jamie Lee Curtis as she attends a horror convention in order to monetize her horror celebrity for charity. She is shown signing autographs, talking to her fans, taking photos, and even hanging out with other Halloween alumni. Fans should find it extremely interesting if somewhat anemic when it comes to the amount of actual information provided. It simply isn’t terribly revelatory.

On Location: 25 Years Later – (SD) – (10:25)

This feature is ported over from one of the film’s many DVD editions and is a look at the various South Pasadena locations as they appeared on the film’s 25th anniversary. It is worth viewing, but why did they not include Halloween Unmasked 2000 instead? Unmasked is a 28 minute documentary about the making of the film that is far more informative than this featurette, and it includes some of the film’s important locations as well. What’s more, it hasn’t been included on either of the film’s Blu-ray releases. Oh well.

Theatrical Trailer – (SD) – (02:42)

It is nice to have the film’s trailer included. Too many supplemental packages seem to forget this basic feature.

Three Television Spots – (SD) – (00:32, 00:32, 00:12)

Three Radio Spots – (HD) – (00:29, 00:27, 00:28)

These vintage television and radio spots are interesting artifacts and nice additions to the supplemental package (even if watching them all together does tend to become somewhat repetitive).

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Disc 2: Blu-ray

Again, this is the exact same disc that was released by Anchor Bay in 2007. The disc includes three unique supplements.

Feature Length Audio Commentary with John Carpenter, Jamie Lee Curtis, and Debra Hill

As mentioned previously, this commentary track may provide a bit more information to listeners than the 2013 track discussed above, but one’s listening experience isn’t quite as fluid. Basically, both tracks have their own strengths and weaknesses.

Halloween: A Cut Above the Rest – (SD) – (01:27:07)

The best overall supplement included in this set is undoubtedly this feature-length “behind the scenes” documentary. It covers the entire production history of Halloween, the film’s release, and its enduring legacy. Frankly, it was incredibly annoying to find that the “35th Anniversary” Blu-ray didn’t include this essential supplement. Those who are annoyed that Lionsgate included the 2007 Blu-ray instead of the “35th Anniversary” Edition may find solace in the fact that they are getting an excellent documentary that wasn’t included in that later edition.

Fast Film Facts (Textual Trivia Track)

This feature allows the viewer to watch the films with occasional trivia information occasionally appearing on the screen (very much like subtitles). One doubts if most people will want to revisit this particular feature terribly often since it tends to take one out of the film. It would be better to utilize this option while listening to the commentary track.

Trailer – (SD) – (02:42)

Three Television Spots – (SD) – (00:32, 00:32, 00:12)

Three Radio Spots – (HD) – (00:29, 00:27, 00:28)

The Theatrical Trailer, Television Spots, and Radio Spots are all exactly the same as those featured on the UHD disc.

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Final Words:

John Carpenter’s Halloween is forty years old and still going strong. It is an incredibly efficient suspense thriller that demands to be revisited. Luckily, it can now be revisited in 4K UHD. Just remember to hold on to your “35th Anniversary” Edition Blu-rays since the image transfer on that release is vastly superior to the Blu-ray included in this package.

Review by: Devon Powell

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