Word: vertigoes
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MOVIES that include quotes from other movies generally run afoul when the excerpted film makes its showcase suffer by comparison. It happens even to good films. Vivian Kurz in Andrew Meyer's Match Girl watches a chunk of Vertigo on TV, and a sensible spectator gets irritated when Meyer decides to return to his own film. The same holds for Peter Bogdanovich's Targets: even the glimpse of Hawks' The Criminal Code Bogdanovich shows us is enough to persuade that it has Targets beat by a mile...
...that humans are more essential than ever. For each of the drawings, a detailed program, painstakingly prepared by a human, was needed; the computer did no more than fill in the requested dots and lines. No genuinely observant viewer could ever confuse a vibrant Riley or a vertigo-inducing Steele painting with the computer's dry, mechanical variants on the original works. And, elaborate though Tsai's kinetic sculpture may be, it too needs a human, in fact two: one to build it and one to clap it into life in the exhibition hall. EDP does not respond...
...those of Francois Truffaut. Soft Skin, Truffaut's best film, integrates into its exhausting spontaneity setups from North by Northwest, and Farenheit 451, Truffaut's worst film, slavishly duplicates shot sequences from all Hitchcock's late work, climaxing in a dreadful track-in/zoom-out shot recreating Hitchcock's Vertigo distortion effect. God knows we can all learn from the Master. Nonetheless, Hitchcock-imitation is not one of Truffaut's more endearing stylistic traits and, light years behind his idol in quality, Truffaut's films have become increasingly insubstantial...
...direction, Truffaut having subtitled it unofficially his "hommage a Hitchcock," the film directly after publications of the huge Le Cinema Selon Hitchcock now on everybody's coffee table. But the film pleasantly reveals Truffaut as having learnt more and imitating less. Only the music (by Bernard Herrman, composer of Vertigo and five other Hitchcocks), and a few shots (for example, the early close-up of the suitcase, from Marnie) recall specific Hitchcock films, and Truffaut provides instead a carefully crafted film molded around stylistic devices Truffaut reveres as a result of his love for Hitchcock...
Around, around the sun we go: The moon goes round the earth. We do not die of death: We die of vertigo...