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Madeleine's first appearance, the conclusion of a shot that begins with Scottie looking toward her, introduces the crucial colors red and green.
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As Madeleine presents herself to Scottie's
gaze, the red decor glows in intensity, reflecting Scottie's subjective response.
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Judy's green dress, which she is wearing when Scottie spots her on a San Francisco street.
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The purple dress Judy chooses after deciding to try to make Scottie "love me again as I am, for myself."
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Achromatic (colorless) colors: Madeleine's white coat and gray suit; Judy in the black dress (minus the green stole). Kim Novak resisted wearing gray, thought to be unflattering for a blonde, but Hitchcock insisted.
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Scottie wears conservative dark suits without flair, but his fantasies are associated with the colors red and, for Madeleine, green.
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The color red is associated with Scottie's romantic fantasies, but also with his vertigo and thus a sense of danger. Here, the title in the opening credits; Scottie's nightmare of an open grave, and red roses in his room during his breakdown.
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Establishing shot for the apartment scene: Scottie's red door, Madeleine's green car
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A swap of colors in the pivotal apartment scene: Scottie wears green, Madeleine's color, while providing her with a robe that is red, the color associated with his fantasies.
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Judy's home, the Empire Hotel in San Francisco, chosen for its green neon sign.
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Seen in a mirror: green light on the door from which Judy will emerge as Madeleine
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Scottie's point of view: Judy as Madeleine
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Scottie waits
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End of the transformation scene
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Midge,the character created to represent an alternative of "reality" for Scottie, first appears in a yellow outfit in her yellow apartment
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Midge wears red in the scene where she tries unsuccessfully to present herself in relation to Scottie's fantasy. |
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The changing green and red traffic signal in Union Square as Scottie walks through after leaving Midge's apartment for the last time.
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During the courtship, Judy wears a yellow blouse with green skirt and sweater, mixing colors associated with reality and with Madeleine.
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