Interpretation of Alfred Hitchcock's

Her conversation with the schoolteacher shows that the teacher withal knows it and that she as well has been aware of the degree to which Mitch is fix to his get's apron strings. It is not until after the bird attack in the house, when Mitch's mother is attacked and Melanie takes control by chasing off the birds and saving the mother, that Melanie displaces the mother in the family structure and relegates the mother to the role of mother and no other.

In the course of the film, the bird attacks be drive more than and more malign and more and more directed at Melanie, the foreigner who in the beginning of the film buys a pair of lovebirds that come to represent the danger to Lydia's mother-son world. Melanie survives the final assault, but her cool calm is ruffled. She has been made more human, but so has Mitch's mother. Lydia does not survive, for the manlikevolent force seemingly directed at the women in Mitch's purport finds her an easy mark, while Melanie proves to be tougher than she seems. In so doing, she also jades a dominant role in the family and in her kind with Mitch, freeing him from his mother's influence and so creating a more sun-loving environment than existed before she arrived. The attacks serve in one means as wake-up calls to point out what is wrong in the Mitch-mother alliance and to test the resolve of Melanie to show whether she is worthy or not.

obsessed with the influence of the recent on the present, and more with the allure of the past to the main character. Much of vertigo concerns the issue of woman as male trick, with both the fantasy as attractor and the fantasy as something to be emboldend in every woman for her to be deemed worthy of male attention. Scottie is attracted to Madeleine because she fulfills his male fantasy of the mysterious and beautiful woman he has unceasingly sought, and he is attracted to Judy because she reminds him of Madeleine.

More than this, though, the woman Madeleine represents is the woman of the past, symbolized here by Carlotta, contrasted with the modern and self-confident woman such as Midge. Scottie has been so seduced by the fantasy that he must force Judy to assume the role of Madeleine as overtly as possible, and he reshapes her from exceed to bottom--clothing, hair, makeup, walk, attitude--recreating the past once more, just as Madeleine and her accomplice seduced Scottie with a vision of the past come to life. The irony is that he does not know until he is finished that he has been working to divert Madeleine on the same woman who pretended to be Madeleine and so seduced him into being part of a murder.

There is a bring forward irony in that Scottie is a detective, and the task for the detective is to recreate the past, perhaps a very recent past, but the past just the same. However, Scottie is not a very good detective. Scottie is the union of this film, the spectator through whose eyes the action is seen. He is the get wind for the consultation as he is for his client, but his observations are faulty. The audience assumes wha
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