Sunday read: Peer Pressure And The Rise Of Vertigo

Peer Pressure And The Rise Of Vertigo:



From the article:

When Vertigo topped 2012’s Sight & Sound’s The Greatest Film’s of All Time, it’s decennially poll of eminent critics, it didn’t only knock Citizen Kane off the top spot after fifty years, but did it by an extreme margin. 864 critics were canvassed and it managed a total of 191 mentions; 34 more than Kane in 2^nd place, double that of Sunrise in 5^th and almost treble of 8½ in 10^th place. It’s hard not to raise an eyebrow when any film, no matter the quality, wins by such an amount.

After a lukewarm reaction upon release in 1958, Vertigo first appeared on the list at 11^th in 1972, and slowly climbed up the top ten in the following polls. Did it become a better film, or more relevant, as time went on? Or did it become more acceptable in critic circles to like the film? The rise of Vertigo to its current astronomical level is a product of the way critics, particularly those in high regard, act in a group.

When it premiered in Cannes, Terrence Malick’s The Tree of Life was met with boos and remarkably mixed reviews. It then won the Palme D’or, the festival’s highest accolade, and suddenly reviews shifted almost entirely into the positive. No one questioned the lengthy creation segments, or the incomprehensible narrative; it was all intentional and incredibly meaningful. While it’s certain many critics did truly appreciate it, plenty will have erred on the side of caution, giving exaggerated praise because they felt it was expected of them. Critics, failing to be critical. But how does this relate to Vertigo’s dominance?