![]() Like any meticulous filmmaker, Scotty is a fetishist. “Blondes,” he said, “are the best victims, and it’s like pure snow with a bloody footprint on it.” Perhaps this was the calculation – Hitchcock bleached women’s hair for strictly practical reasons. Such a routine transfer of one image from film to film eventually mortifies it and makes it purely fictional. Kim Novak, Grace Kelly, Ingrid Bergman, and others alternately starred in the role of a beautiful and intelligent “Hitchcock blonde” in the master’s films. It’s also ironic that Scotty persuades Judy to dye her hair from brown to blonde. One demands excessively on the set, the other – in his personal life. To some extent, Stewart’s character imitates Hitchcock and his expressive techniques, transforming one woman (the actress) into another (the heroine). And the movie’s greatest scene – the exit of Judy (also Kim Novak), hired to portray Madeleine as an exact copy of her – is accompanied by a bright green glow.īefore us unfolds a story about the dark side of the sacralization of images stamped by the dream factory. From that moment on, John’s imagination materializes the image of Madeleine he sympathizes with her and believes in her legend. And the sweater declares: a man met a woman, let him into his life, made green his own. This episode first hints at the spiritual and sexual attraction of the characters to each other. The main intimate element is John’s greenhouse sweater in the scene where Madeleine wakes up after trying to drown herself. Green invades the hero’s everyday life, and Madeleine’s false image captures his mind. First, we see Madeleine in a chic green dress, and then we notice her green car, curtains, and other items. ![]() Hitchcock made green an indicator of the unreality of the action – in the first part of the tape, the shades of this color are natural. Unnecessary and mundane characters disappear from history for example, Midge and his replace John’s alter ego, Scotty. The second part of the film is a fantasy: Hitchcock visualizes the world of the unconscious of his hero, transferring to the screen what is happening in his head. He idealizes her image even more, helped by loneliness and dissatisfaction with his relationship with his girlfriend, Midge (Barbara Bel Geddes). The first part of the film ends when John ends up in a psychiatric hospital, unable to cope with the death of his beloved Madeleine (Kim Novak). ![]()
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