Vertigo almost had an alternative ending that would have compromised its integrity and ruined Alfred Hitchcock's singular vision.
The Big Picture The 1958 classic psychological thriller Vertigo is a seminal film and one of the most iconic works in the filmography of legendary filmmaker Alfred Hitchcock. While the film is hailed as a cinematic classic, it was nearly ruined by censorship incited by the United States Production Code Administration. Ultimately, Hitchcock was able to get the ending he wanted, but he had to compromise with the U.S. Production Code Administration.
How 'Vertigo's Ending Is the Perfect Example for the Genre It's an extremely harsh, dark, and tragic ending, yet it's also the appropriate one. On one hand, the audience hopes that Ferguson and Judy can escape this outcome and live happily together. But on the other hand, Judy's role in the murder conspiracy cannot be forgotten. The memory of the woman Ferguson believed was Madeleine haunts and tears him up inside.
There are many problems here. The ending attempts to create a happier ending for everyone. Even though Ferguson saw a woman he loves fall to her death, he reunites with his ex-girlfriend and appears to be doing well. Also, the dastardly Elster will be brought to justice for his crimes. The biggest issue is that Vertigo is not about Elster's crimes and villainy. While there is an elaborate conspiracy at play in Vertigo, that is not the key to the story.
How the Production Code Administration Impacted Hitchcock's Movie Dan Auiler's book, Vertigo: The Making of the Hitchcock Classic, details the censorship and regulation process that forced Hitchcock to film the alternate ending. The United States Production Code Administration enforced the Motion Picture Production Code, aka the "Hays Code," for Hollywood motion pictures for decades.
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