My rotten mood dissipated a bit after receiving a (comparatively) large client payment a mere two days after I billed it. It’s all about the money, honey!
But yesterday was bitterly cold and unrelentingly grey, so no tromping.
Instead, I frussed and fritted, and bemoaned the fact that I have nothing to read, and went grocery shopping, and finished three Friends & Family tax returns—which I always send off with elaborate explanations of why they are the way they are, knowing that people don’t actually care: All people really want to know is, Did I get a refund, or do I have to pay?

In the evening, I watched Vertigo.
Vertigo is one of my all-time favorite movies. I’ve seen it at least a dozen times.
And I can distinctly remember the first couple of times I saw it, I didn’t like it at all.
Found the plot preposterous. Found Jimmy Stewart repulsive and old. Found Kim Novak artificial and mannered.
The backdrop of a beautiful San Francisco, frozen in time like one of the tableaux in Christopher Priest’s The Endless Summer was appealing—San Francisco is one of the most beautiful cities I’ve ever seen, and was far more beautiful Back Then. And, of course, even then I recognized the magnificence of Bernard Hermann’s haunting, Wagner-infused score.
But it took me some years to recognize that Vertigo is a type of fairy tale. A kind of Orpheus and Eurydice redux, a cautionary fable about the toxicity of the male gaze.
###
Hitchcock had a very particular manner of imagining films. He collected images that moved him in some way, and when he had enough of these images, he would hire somebody to string together a plot.
But the plot was never the point. The images were.
One such image is the image of Judy above—emerging from the flickering green reflection of the neon light illuminating her cheap hotel room after Scottie has transformed her completely back into Madeline. The blank expression on her face is like someone stepping up to a guillotine.
The whole movie is filled with images like that for me when I watch it now.
But yesterday was bitterly cold and unrelentingly grey, so no tromping.
Instead, I frussed and fritted, and bemoaned the fact that I have nothing to read, and went grocery shopping, and finished three Friends & Family tax returns—which I always send off with elaborate explanations of why they are the way they are, knowing that people don’t actually care: All people really want to know is, Did I get a refund, or do I have to pay?

In the evening, I watched Vertigo.
Vertigo is one of my all-time favorite movies. I’ve seen it at least a dozen times.
And I can distinctly remember the first couple of times I saw it, I didn’t like it at all.
Found the plot preposterous. Found Jimmy Stewart repulsive and old. Found Kim Novak artificial and mannered.
The backdrop of a beautiful San Francisco, frozen in time like one of the tableaux in Christopher Priest’s The Endless Summer was appealing—San Francisco is one of the most beautiful cities I’ve ever seen, and was far more beautiful Back Then. And, of course, even then I recognized the magnificence of Bernard Hermann’s haunting, Wagner-infused score.
But it took me some years to recognize that Vertigo is a type of fairy tale. A kind of Orpheus and Eurydice redux, a cautionary fable about the toxicity of the male gaze.
###
Hitchcock had a very particular manner of imagining films. He collected images that moved him in some way, and when he had enough of these images, he would hire somebody to string together a plot.
But the plot was never the point. The images were.
One such image is the image of Judy above—emerging from the flickering green reflection of the neon light illuminating her cheap hotel room after Scottie has transformed her completely back into Madeline. The blank expression on her face is like someone stepping up to a guillotine.
The whole movie is filled with images like that for me when I watch it now.
