Last evening I was supposed to join a group of friends in seeing Alfred Hitchcock’s “North By Northwest” (1959) on the big screen for the first time. I’ve seen the film many times on the small screen, most recently a few months ago, but any time you can see a classic movie the way it was meant to be seen, you should absolutely take advantage of the opportunity. It completely changes your perspective on the art and the acting involved in the creation of something that is of lasting value and cultural importance as many of the great movies created before everything in society went to pot – literally – in the ‘60’s.
Unfortunately, not anticipating that I would need to pre-book tickets, two of us were not able to get in to see the screening, which was sold out. That’s an encouraging bit of news, I suppose, especially on a Wednesday night. Hopefully it’s a sign to more theatres that people *want* to see films from the studio era on the big screen.
As it happens, the first “old” movie that I ever saw on the big screen was Hitchcock’s “Vertigo” (1958), following its restoration some years ago when it was redistributed to theatres. It was a mind-blowing experience since, although it’s not one of my favorites, the importance of the use of color in the film became far more apparent after seeing it as it was intended to be seen, where the poison apple greens and blood reds that mark certain scenes reflect off of and almost envelop the audience at different points during the screening. There are also elements to “Vertigo” which have become cultural touchstones: think of the “Simpsons” episode “Principal Charming”, for example, and the incongruous Spanish mission bell tower attached to Springfield Elementary School:
If you know the film, you know that the Legion of Honor in San Francisco is a critical location, and a painting of a woman named Carlotta Valdes that Hitchcock had placed there, are important elements of the film. The portrait is something of a McGuffin, since once we uncover the mystery of what it is, it sort of falls out of the picture. But Hitchcock’s fetish-like attention to Kim Novak’s coiffure, suit, and a bouquet of flowers that she carries in imitation of that which appears in the painting, are things which come to have repercussions for both Leigh and Jimmy Stewart.
So it’s interesting to note that American Contemporary Artist Lynn Hershman Leeson will be exploring some aspects of the film in a mixed media installation including film, in her new multi-site installation “VertiGhost”, which opens in San Francisco on December 16th. Some of the works in this installation will be shown at the Legion of Honor itself, and I particularly like Ms. Hershman Leeson’s use of the Droste effect in this piece:
As ArtNews reported yesterday, the installation will feature references to the aforementioned McGuffin painting in the movie, along with considerations of some of the themes in both the film and in art. What do we mean when we say someone is being “haunted”? Why do we consider one thing “authentic”, and another thing, “fake”? What can psychiatry tell us about Hitchcock and the characters in this film?
I don’t plan to be in San Francisco any time soon, but if any of my readers happen to see the installation, I’d be curious to know what you think of it.