Above: The French grande poster (47" x 63") by the great Boris Grinsson. The French title translates as “Cold Sweat.” The poster for Vertigo is by Saul Bass, who was a pioneer of film-title sequences and of film poster design. Bass conceived the title sequence as an integral part of the film and as something that could, through the use of music, typography and moving image, establish the mood and emotional register of a film. A young Martin Scorsese viewed the film with his friends during its original run in New York City, and later recalled that "even though the film was not well received at the time... we responded to the film very strongly. [We] didn't know why... but we really went with the picture." [81] Top Grossers of 1958". Variety. January 7, 1959. p.48 . Retrieved September 30, 2020– via Internet Archive.

Gavin Elster, an acquaintance from college, asks Scottie to follow his wife, Madeleine, claiming that she has been behaving strangely. Scottie follows Madeleine to the Mission San Francisco de Asís and the grave of Carlotta Valdes (1831–1857), and to the Legion of Honor art museum, where she gazes at the Portrait of Carlotta. Harvey Danger: Where Have All The Merrymakers Gone?". Sputnik Music. July 8, 2009 . Retrieved December 6, 2013.Scheuer, Philip K (May 29, 1958). " 'Vertigo' Induces Same in Watcher". Los Angeles Times. Part I, p. 21. Retrieved September 30, 2020 – via Newspapers.com. Obsession, a 1976 film by Brian De Palma, is heavily influenced by Vertigo, while his 1984 thriller Body Double combines the plot elements of both Vertigo and Rear Window. The big colour productions of the 1950s greatly extended the production credits. Incorporating this extra information into the title sequence made it too long. Accordingly, the credits began to be organised so that title and big names were placed at the front of the film and production and general credits at the end. So, part of what Bass was doing was a pragmatic choice to organise this information clearly.

BFI (August 2, 2012). Martin Scorsese on Vertigo. YouTube. Google LLC. Archived from the original on October 31, 2021 . Retrieved October 3, 2020. The technical specification for the poster reads as a screenprint. The small photographic elements, hand-cut type and solid bright orange are all indicators of this process. Accordingly, the film is positioned as an edgy and psychologically complex story, slightly outside the Hollywood mainstream. Hand-drawn lettering and hypotrochoid curvesRennie, Paul (September 29, 2008). "Vertigo: Disorientation in orange". The Guardian . Retrieved April 25, 2018.

Winsten, Archer (May 29, 1958). "Reviewing Stand: 'Vertigo' Drops in at the Capitol". New York Post. Chris Marker's 1983 video-essay Sans Soleil makes reference to the movie, declaring it the only film "capable of portraying impossible memory" over footage of Vertigo's shooting locations and stills from the film. [133] Jaglom, Henry (2013). Biskind, Peter (ed.). My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles. Metropolitan Books. A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.

Most Popular Poster Types

The Empire Hotel is a real place, called the York Hotel, and now (as of January 2009) the Hotel Vertigo at 940 Sutter Street. Judy's room was created, but the green neon of the "Hotel Empire" sign outside is based on the actual hotel's sign (it was replaced when the hotel was renamed). [b] BFI's Sight & Sound Critics' poll 2002". BFI. Archived from the original on June 15, 2012 . Retrieved August 4, 2012. In the original press book (or “showmanship manual”) for the film, though Bass’s designs are front and center... Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940–1958. Metuchen, N.J., and London: Scarecrow Press. ISBN 978-0-8108-1363-2.

Shipka, Danny (2011). Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960–1980 (illustrateded.). McFarland & Company. ISBN 978-0-7864-4888-3.

Vintage Movie Posters Grading Criteria

Who is the greatest?". Total Film. October 24, 2005. Archived from the original on January 23, 2014 . Retrieved August 4, 2010. Klein, Richard B. (2005). Coles, Felice Anne (ed.). In memory of Richard B. Klein: essays in contemporary philology. Romance Monographs, University of Mississippi. Take One: The First Annual Village Voice Film Critics' Poll". The Village Voice. 1999. Archived from the original on August 26, 2007 . Retrieved July 27, 2006.