Specifically we get Hitchcock's own strange attitudes to women and actresses on screen. Kim Novak is remade twice in Vertigo. Her character is transformed by male desires for love and money. She is as Hitchcock (and his protagonist Scottie) want her: supremely acquiescent – the obedient actress submitting to her director.
But then there is the title sequence, which suggests that women’s faces are dangerously hypnotic. They spin you about – give you vertigo. Women as actresses are fascinating but deceptive. They leave you and lie to you. Novak is both imperious and vulnerable. In fact there's a tinge of sadomasochism in Madeleine’s grey suits, tightly-wound hair and gloves. Judy’s purple evening gown is looser, more relaxed – she is being genuinely herself. But Scottie forces her back into her corset.
And actually that idea is planted early with the chat about brassieres in the beginning of the film – prurient on Hitchcock’s part, but also introducing the idea of women moulded by the science and stratagems of male fetishists. Just as a famous airman turns to applying his know-how to the design of female underwear, so the detective turns to dressing up his girl so that she becomes his ideal woman. He's suffers for it, of course. Novak is killed off in a church by a nun – the Gothic scene suggesting the punishment of forbidden desire.
I ended up feeling most sorry for the friend-zoned Midge, who offers a safe way to deal with Scottie's agoraphobia – a stepladder in the living room. Instead he gets tangled up with a femme fatale and ends up climbing a church tower. Midge is a friend who interacts with Scottie on equal terms. But Scottie wants to dominate and be dominated by women. That is what draws him to Novak, and dooms him.
