Gavin is able to better understand the limitations of Scottie's acrophobia as Scottie believes that Gavin is a trustworthy individual and is therefore willing to explain the limitations with which he is faced. When Gavin inquires about the extent of Scottie's acrophobia, Scottie replies, "It just means that I can't climb stairs that are too steep or go to high places like the bar at the Top of the Mark. But there are plenty of street-level bars in this town" (Vertigo). Though Scottie implies that his disability is something that he has learned to cope with, Gavin understands that though Scottie has learned to adapt to his condition, it can still be exploited. Issues of perception and deception are also evident in Judy/Madeleine's character. In the course of the narrative, Judy attempts to pass herself off as Madeleine, who Gavin contends is his wife -- although the legitimate Madeleine has been murdered and Gavin is laying in wait so that he can dispose of her body without arousing suspicion. Judy goes to great lengths to pass herself off as Madeleine and even pretends to be possessed by the spirit of Madeleine's great-grandmother, Carlotta Valdes (Vertigo). Through the successful deception of Scottie, Judy is able to manipulate him into believing that she is Madeleine and is being psychologically haunted by the spirit of her great-grandmother. It is Scottie's willingness to give in to the lie that enables Judy's version of Madeleine to commit "suicide" and successfully complete the ruse that she and Gavin were partners in.

The...

The spiraling effect that is created through the camera's movement not only is a representation of Scottie's disability, but also is a symbol of the seemingly never-ending chase that Scottie is on in order to try and find the truth. The spiraling, 360-degree motif heightens the suspense of the film and makes its shots and storyline unforgettable.
The narrative elements of Vertigo create a confusing and thrilling plot that culminates dramatically in the revelation of truth with tragic consequences. The film noir characters in the film help to drive the plot and suspense. With justice being delivered at the end of the film, which is contrary to the opening sequence in which the criminal prevailed, Hitchcock is able to demonstrate that justice will prevail once perceptions are clarified and deceptions are revealed.

Works Cited

Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir: 1941-1953.

Trans. Paul Hammond. San Francisco: City Lights Books, 2002. Print.

Spicer, Andrew. Film Noir. New York: Pearson Education, 2002. Print.

Vertigo. Dir. Alfred Hitchcock. United States: Paramount Pictures, 1958. Film.