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Nisam siguran da li sam sve odgledao, ali mnoge jesam, iznova i iznova, nebrojeno puta.

Koliko ste ih vi videli i koji su vam najdraži? Å ta HiÄkok nije snimio, a voleli biste da jeste? Koja vam je omiljena plavuÅ¡a?

Sve o liku koji je poznat koliko i njegovi filmovi...


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ÄŒitav jedan život se može smestiti u period od kada sam pogledao poslednji put neki njegov film. Morao bih ponovo da ih pogledam... sa godinama, Äovek gleda na stvari drugaÄijim oÄima. Odnosno, mnoge stvari tek tada poÄinje da razume.

Å to se tiÄe plavuÅ¡a... tada je bilo u modi pisati glumcima i moliti ih za fotografije. To je radio moj stariji brat, ja joÅ¡ nisam bio dorastao za tako složen posao. Kako to već kod braće biva, neÅ¡to od toga je moralo da bude i na moje ime. :) Tako je Kim Novak pripala meni, a princeza Grejs bratu. No, sada je sve to kod mene. Kim smo, valda greÅ¡kom, pisali dva puta, i eto hrpe fotografija. Grejs Od Monaka je potpisala svojeruÄno. InaÄe, mnogi su umnožavali već potpisane fotografije, ili su imali potpis na peÄatu - nisam baÅ¡ naÄisto.




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Za veÄeras, jedan malo drugaÄiji predlog...

Za razliku od uobiÄajenih Å¡pijunskih, ili krimi zapleta, atmosfere straha, teskobe, napetosti, The Trouble with Harry je komedija smeÅ¡tena u raskoÅ¡ne, okupane svetlom, i koloritom bogate pitome predele Nove Engleske.

Nevolja sa Harijem je ta, kako kaže trejler na wiki stranici ovog filma, što je on zapravo mrtav!


I, vidi, vidi ko nam tu glumi...




Pogledajte trejler na pomenutoj viki strani: http://www.hitchcock...th_Harry_(1955)

I da... obavezno pogledajte film!

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Interview with Kim Novak

[in March 2003, several readers of the 'MacGuffin' website responded to an invitation to send messages to Kim Novak. The messages, paying particular tribute to Ms Novak's memorable performance in Hitchcock's Vertigo (1958), were duly forwarded. In gratitude for them, Ms Novak recently gave the following exclusive interview to author Stephen Rebello, a personal friend of Ms Novak's. She and Stephen talked one evening in the lounge of the Regent Beverly Wilshire Hotel (where, notes Stephen, Warren Beatty lived for years and where Julia Roberts played now-famous scenes in Pretty Woman [1990]). The editor of 'The MacGuffin' takes this opportunity to express his appreciation both to Ms Novak and Mr Rebello and to the message-writers. The original messages are appended after the interview.]

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Readers' messages sent to Ms Novak

[Editor's note. The initial tribute to Ms Novak was emailed to me by Australian director Richard Franklin and provided the impetus for inviting our readers to have their say ...]

1. From Richard Franklin, Melbourne, Australia.

When I was directing PSYCHO II, I discussed VERTIGO with Vera Miles. She told me Hitch was furious that she had become

pregnant on the eve of his making her a star. But in this instance Hitch was wrong about the casting of his greatest picture.

I have seen material of Vera in the Madeleine/Judy part and am firmly convinced that the main reason VERTIGO transcends all

of Hitchcock's other work is the performance, the sensuality (and vulnerability) of Kim Novak.

Whatever tensions may have existed during the shoot, Kim far exceeds any other 'Hitchcock blonde' with the strength of her

performance. Vera was beautiful, but did NOT possess the ethereal quality of Kim. Eva Marie Saint, Grace Kelly and even

'Madeleine' Carroll do not come close. When I first showed the picture to my friend and colleague Dr George Miller (MAD MAX,

LORENZO'S OIL, WITCHES OF EASTWICK), who you may be aware is a student of Joseph Campbell et al, he commented

he had never seen a more perfect embodiment of the Jungian 'anima' than Kim Novak in VERTIGO. Kim's Madeleine is simply

the perfect female.

I am of the opinion the repressed Hitch (and I'm NOT talking about the Spoto construct) was quite out of his depth with Kim, who

gave a performance of such godlike sensuality and such vulnerabilty and humanity as the 'sad' Judy, that in my opinion Kim

deserves a great deal of the credit for the film's 'masterpiece' status. I wonder if she knows for example that esteemed Aussie

film critic Tom Ryan named his daughter Madeleine.

It is probably transparently obvious that movie director and aficionado of Hitchcock or not, I was in love with Kim Novak. She

remains one of my yardsticks of all things wonderful about 'goddesses' of the screen, and of the mystery and wonder of the

opposite sex.

And VERTIGO is one hell of a movie - largely because of her.

2. From Joel Gunz, USA.


By the time I was 17 years old, I had seen almost every film in the Alfred Hitchcock canon. Hence, when it was announced that

_Vertigo_ (one of the last few that I had _not_ seen) would finally be freed from litigation in 1983, I was ecstatic. Being a

teenager I was still free to choose my obsessions, and weeks before the new print of the film arrived in Portland, Oregon I had

nearly memorized the chapter on _Vertigo_ in John Russell Taylor's biography of the director, _Hitch_. For me, this was the

cinema event of the year. I had no way of knowing that it would also turn out to be one of the greatest cinema events of

my life.

In spite of my prior research for the movie, I was about as unprepared for Kim Novak's performance of Madeleine as Pearl

Harbor was for the Kamikaze attack on December 7, 1941. Madeleine was everything I thought I desired in a woman at

that time, in all of her glorious contradictions: timid, audacious, intelligent, sophisticated, mysterious, simple, complicated - often all in

the same breath. I will never forget the devastation of suffering her loss twice in the period of about 60 minutes. Even after the

movie ended and the house lights came up, I sat in stunned, slackjawed silence, my eyes fixed on the curtains covering the movie

screen like a red velvet burial shroud. People stared at me as they filed out of the theater. Later, I went to a vintage shop and

bought a dark three-button suit just like James Stewart's in his role as Scottie Ferguson. Like I said, I was 16. I'll obsess my way,

and you obsess yours.

Novak's performance brought about a sea change in me as to how I viewed not only Hitchcock's movies, but also film in general.

In the years B.V. (Before _Vertigo_) I was drawn to Hitchcock films because I enjoyed his technical prowess.

The very word 'montage' - as uttered by Hitch - held an almost mystical fascination for me; its concepts were a Rosetta

Stone-like key to interpreting the hieroglyphics of film imagery. _Vertigo_ changed all that. For the first time in many years, I

was utterly, completely, moved by a screen performance. Actually, 'moved' is an understatement. Thanks to Ms. Novak, I was

shoved headlong into an emotional abyss - one with stucco walls and a tile roof not dissimilar to those of Mission San Juan

Bautista. In my psyche, Madeleine's bones remain there, twisted and sunbleached, to this day.

Happily, _Vertigo_ remains a perennial screen favorite. I can pretty much count on seeing the film return to one of our more

culturally ambitious independent theaters at least once a year. For that reason, I'm proud to say that I've never seen the movie on

video. Nor would I want to. Kim Novak gave us a big screen performance, and watching it on TV would be like listening to

Maria Callas' performance of _Carmen_ on a clock radio. Novak's Madeleine is, perhaps by definition, unobtainable. Still, I'm

grateful for the few images of her that exist so that I, like other Scottie Fergusons, may sit in a darkened theater and will her, one

more time, back to life.

3. [Mr] 'Kari S.'/ Kari Paananen, Turku, Finland.

What I want Kim Novak to know

I saw Vertigo for the first time somewhere in the mid-eighties. I didn't understand it then. The concept of losing your loved-one

was too much for me to grasp - I hadn't even been in love by that time.

But a few years ago, when Vertigo was restored, I fell in love with the film. Now, I had fallen in love, separated and been in love

several times in real life, so perhaps that's the thing that made me realize the greatness of this picture. There is something in this

film that moves me deeply everytime I sit down to view it. I try not to do it too often, since I don't want to spoil the experience of

it - once a year is about enough.

I don't recall seeing any of the films of Kim Novak that she made before Vertigo, apart from Picnic by Joshua Logan. As for the

later ones, I saw The Mirror Crack'd (From Side to Side), when it was released. Although that was more Elizabeth Taylor's show

- I do remember Kim's storming entrance however. Vertigo seems to be in a league of its own. Ms Novak must be so proud for

having been in a film like that.

Her voice, to me, is one essential part of Vertigo. When I think about Vertigo, I see a few flashing images and hear the voice of

Kim Novak. I remember especially the scene at the beach, when Madeleine tells Scotty about the location of the dream she's

been having ('There's a tower and a bell and a garden below...'). I have compared that scene (and others) on the DVD, where

there are dubbed versions in Spanish, in Italian, in French and in German. None of the dubbed versions match the original, the

intensity of it. Thank God they don't dub films here in Finland.

Being a Hitchcock fan, I realize that a lot of the magic of Vertigo is due to him, not forgetting the score, cinematography or

editing... But it would not be the same without Kim Novak's performance.

I want Kim Novak to know that this 35 year old Finnish man thinks highly of her and her work - and is also introducing Vertigo to

new people, whenever there's a chance. By the way, the Finnish title of Vertigo is Punainen kyynel (Red Tear), referring to that necklace.

4. [Mr] Sandy McLendon, USA.

I find Kim Novak's performance in 'Vertigo' remarkable, all the more so when one considers how she may have found its key.

For me, that key is what must have been her very deep understanding of the manipulation in 'Vertigo's' script. Like Judy Barton,

Kim Novak had come from an unglamorous, solidly Middle American place to a big, glamorous city. Once in Hollywood, she was

treated as every movie star is - which is to say at least as much property as person. As with any star, Novak was required to

dress, speak and move in ways that fostered fantasy and glamour. The real Kim Novak seems often to have been ignored; the

glamour was far more important to Hollywood than the person behind it. I view Novak's early years at Columbia as roughly

analogous to the tutelage Judy got from Gavin Elster, gaining her some things she wanted, but at a personal cost she could not

have foreseen.

When Novak went from her home studio, Columbia, to film 'Vertigo' at Paramount, there seem to have been more parallels

between actress and character. Every woman has views on what she feels good wearing, and what she does not - and

Hitchcock's wardrobe requirements for his film are said to have violated every one of Novak's own preferences. After being

treated at Columbia in the way Gavin Elster treated Judy, Ms. Novak was now being asked to do precisely what Scottie asked of

Judy - being dressed up to a man's specifications. What I find remarkable is that Ms. Novak herself seems to have understood

the parallels at the time, and was more than actress enough to put her discomfiture to work for her character. Her work in

'Vertigo' is quiet and yet searing in its portrayal of the damage done to a young woman by men who do not consider her important

for herself: instead, she's important to them only because of what she can do for them. So many people see 'Vertigo' as being

about a dual role or personality; I think Kim Novak went much deeper. Her portrayal is that of a woman being forced to play roles

- and who loses her life in an attempt to become one real, complete woman.

I think that 'Vertigo' does not end with 'Vertigo'; I believe that 'Vertigo' spills over into Novak's next film, 'Bell, Book and Candle.'

Ms. Novak had just completed a movie about the damage done by manipulation; 'Bell, Book and Candle' is about someone who

resists manipulation. The fun, glamorous witch she played, Gillian Holroyd, is someone whom others want to remain a witch for their own selfish reasons. Gillian wants to define herself as a genuine human being, capable of love and respect, and voluntarily gives up her powers to achieve that humanity. To me, the two films are two sides of the same coin - Judy Barton and Gillian Holroyd have much the same issues, only Gillian wins where Judy loses. I see other Kim Novak roles that express the same idea: a woman who is intent on being herself, sometimes against all odds.

5. Jim Davidson, California, USA.

A trip down the Monterey Penninsula last weekend for the AT&T golf tournament led to the required stop by one of the great

locations of any Hitchcock film: Mission San Juan Bautista. It seems in that place as if time has stopped, and you can still see

Kim Novak as Madeleine running across the grass plaza from the stables, pursued by James Stewart as Scotty. Novak's

performance in "Vertigo" is no doubt one of the great, underrated performances of all time; hers is unquestionably the critical role

in a film that is now thought of as one of the greatest ever made. Her ability to convincingly play the beautiful, tortured Madeleine

Elster and make us, the audience - as well as Scotty - believe her, is undoubtedly the key to the film's success.

But I also wanted to mention another part that Novak played that has similar qualities to that of Madeleine Elster/Judy Barton: as

Polly the Pistol in Billy Wilder's "Kiss Me, Stupid". Here again, Novak plays a woman who must impersonate another woman to

please a man, and she manages to pull this difficult part off and again make it believable to the audience. This must have been a

very challenging role to manage under challenging circumstances, and Kim Novak produces a gem of a performance in this film

that has never been recognized for the comic masterpiece that it is. Hopefully "Kiss Me, Stupid" will someday be released on

DVD and new audiences will come to see the remarkable performance that Ms. Novak gave in this film.

On a personal level, I can say that I saw Kim Novak in person at the premiere of the restored "Vertigo" a few years ago in San

Francisco, and she was gracious, charming and beautiful. The audience fell in love with her all over again. It's just too bad that

the movie stars of today don't have the grace, style and elegance of Kim Novak!

6. Eric Carlson, California, USA.

In "Vertigo," Kim Novak gives one of the greatest performances in a Hitchcock film, and one that was unjustly snubbed by the

Academy (she should have been nominated and deserved to win). Oscar or not, the performance lives on as one of the greatest

in film. She is believably one woman and then believably another. She plays an unattainable goddess (watched by Stewart), a

tantalizingly attainable goddess (courted by Stewart), and a been-around shopgirl (courted again by Stewart) with equal aplomb.

And then, in the third act, she devastatingly essays the sad, yearning desperation of a woman willing to obliterate her very

personality for the love of an unbalanced man, giving up her life in the process. A great performance. Amazingly,

in the same year (1958), opposite the same leading man (James Stewart), Novak is seen in the much lighter and frothier "Bell,

Book, and Candle" sexily ruling the screen as a galaxy of scene-stealing male stars floats around her (Stewart, Jack Lemmon,

Ernic Kovacs.) That's a film that makes you ache for the color and glamour of the late fifties. "Vertigo" and "Bell, Book, and

Candle" by themselves would earn Novak stardom.

Novak is a great star because she is a beauty who makes us feel. The entrapped rural festival queen in "Picnic," the loving

girlfriend of a junkie in "The Man With the Golden Arm," the coveted housewife who enters an ill-fated affair much more out of

lonlieness than lust in "Strangers When We Meet."

Novak could offer fun times, too. She shines in "Boys Night Out" (skillfully leading on three married wolves for a sociology

experiment while holding them at bay and winning their bachelor friend for her own husband). She's all sexy fun in Wilder's

controversial sexy farce "Kiss Me Stupid," sending up Monroe and waking up Dean Martin for a great self-parody. A personal

favorite: "The Notorious Landlady," where Jack Lemmon stands in for Everyman in getting a chance with the unattainable (great

bathtub scene, too!) A fun exercise: her delightfully catty exchanges with Elizabeth Taylor (opposite Rock Hudson and Tony

Curtis) as warring movie divas in "The Mirror Crack'd."

Like every male from nine to ninety, I had a crush on Kim Novak, and still do. I live in California and often visit the beautiful

Carmel coast where I believe she lives. Just knowing she's out there somewhere is a pleasure and a comfort. She beat

Hollywood at its own sex-goddess game, acted in films both great and entertaining, and will be remembered for years to come.

7. Rick W., Philadelphia, USA.

Although I just cruised into this website by chance - it was linked to an article about PSYCHO, which I viewed again today (Feb.

27) - I am what you might say a long-time fan of Kim Novak and of VERTIGO. It is my favorite movie of all time. No matter

how many times I watch this film, I get all tensed up and weep throughout the scene where "Madeline" "falls" to her death. And

during the climactic scene when Judy and Scottie go up the tower again, and he cruelly berates this woman who obsesses him, I

sob. Why should this film affect me so? Perhaps because dozens of books and scholarly articles could be written about the

power and the universality of this movie. (Oh, excuse me, they HAVE been!) Definitely, Kim Novak's (and Jimmy Stewart's)

performance is compelling. Just think - during the first part of the film she is Kim Novak, playing the part of Judy Barton, who is

pretending to be Madeline - who is pretending to be possesed by "Carlotta"! Also, the first time that Scottie meets Judy was, for

me, a watershed event - it was the first time I was fully aware that women have, um, breasts! (Did I mention that my mother

took me to see this film when I was SIX YEARS OLD?) It was also during this picture that a seemingly throwaway line by

Madeline - to the effect that everybody HAS to die - made me realize that, as careful as I could possibly be about avoiding car

crashes, heart attacks, and so on, I HAVE to die some day. Is it any wonder that, at age 50, I find this film even more hypnotizing

and gripping than even most Hitchcock scholars, fans, and fanatics?

8. Sarah Nichols, Connecticut, USA.

Am finding it difficult to express just exactly how I feel about the wonderful Kim.Novak. I want to say that the scene in Vertigo,

after Stewart brings her back to the hotel from their first date, is as once achingly sad and beautiful, and that the shot of her by the

window, bathed in that ethereal green, breaks my heart. Resignation and pain pass across her face like nothing I've seen in any

other film. I think of Thoreau's phrase: 'the mass of men live lives of quiet desperation'. We see it here, writ in silence, the dream

of an unconditional love draining away.

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"Vrtoglavica" najbolji film ikada

Alfred HiÄkok je napokon uspeo da nadmaÅ¡i Orsona Velsa kada je njegova "Vrtoglavica" proglaÅ¡ena za najbolji film ikada, po miÅ¡ljenju kritiÄara lista "Sight & Sound".


1 "Vertigo" (Hitchcock, 1958)

2 "Citizen Kane" (Welles, 1941)

3 "Tokyo Story" (Yasujiro Ozu, 1953)

4 "La Règle du jeu" (Jean Renoir, 1939)

5 "Sunrise: a Song for Two Humans" (F.W. Murnau, 1927)

6 "2001: A Space Odyssey" (Stanley Kubrick, 1968)

7 "The Searchers" (John Ford, 1956)

8 "Man with a Movie Camera" (Vertov, 1929)

9 "The Passion of Joan of Arc" (Dreyer, 1927)

10 "8 ½" (Federico Fellini, 1963)

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1 "Vertigo" (Hitchcock, 1958)

2 "Citizen Kane" (Welles, 1941)

3 "Tokyo Story" (Yasujiro Ozu, 1953)

4 "La Règle du jeu" (Jean Renoir, 1939)

5 "Sunrise: a Song for Two Humans" (F.W. Murnau, 1927)

6 "2001: A Space Odyssey" (Stanley Kubrick, 1968)

7 "The Searchers" (John Ford, 1956)

8 "Man with a Movie Camera" (Vertov, 1929)

9 "The Passion of Joan of Arc" (Dreyer, 1927)

10 "8 ½" (Federico Fellini, 1963)

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