Of all the Stewart roles I’ve seen so far, I think Lemmon would be great in Anatomy of a Murder and Rear Window, pretty good in It’s a Wonderful Life and Mr. Perhaps Lemmon could manage to effectively portray Scottie’s sense of longing and guilt, but I think he’d really falter if he attempted to act the angry frustration that the character feels near the end of the film. In The Apartment, he plays a character who is much more of a submissive, good-natured everyman type than an obsessive stalker like Scottie Ferguson. I’ve yet to see anything other than The Apartment, Some Like it Hot, and JFK out of his filmography, but at this point I would argue he doesn’t have quite the right persona for Vertigo. There are obviously many other great options. – The drop-dead-gorgeous orange Las Vegas sky in Blade Runner 2049

– Pink pastry boxes or red elevator in The Grand Budapest Hotel – Eerie blue in Mulholland Drive’s Club Silencio – Orangey hallway in a famous scene of In the Mood for Love – Washed out brown of Bess walking away from the bus in Breaking the Waves – Dark blue sky in the memorable shot of De Niro leaning on the window post in Heat – The iconic “girl in the red coat” of Schindler’s List

– Colored banners in the battle sequences of Ran – Red HAL control room in 2001 (this also has a case as the single best) – Red restaurant in Vertigo is nearly as good as the green hotel – The glorious transition from sepia to technicolor in The Wizard of Oz How about the best use of a color or multiple colors in a specific scene or even a single moment? I think that the neon green hotel room scene in Vertigo is at the forefront of the choices. There has been substantial discussion on the site about the best use of color in a whole film. The neon green bathing them, the camera dancing with them as the background shifts from the hotel room to the mission and back to the hotel room-cinematic ecstasy There’s almost a release as he finishes and perfects her hair at the 116 minute mark and then we get one of cinema’s most singularly brilliant moments/scenes and shots-the 360 degree kiss in the hotel room. Green pouring in again after his transformation and possession of Judy back into Madeleine is complete.One of cinema’s greatest (and most horrifying) characters as he molds Judy back into Madeleine. The acrophobia is almost a red herring for what really ails him. Scottie’s obsession, his fetishism-disturbing-he’s monomaniacal “the gentleman seems to know what he wants”.At 106 minutes the third of fourth jaw-dropper of a moving oil painting on the screen as the couple walks around the pond.We see Novak’s profile again- this time in silhouette at 104 minutes- a masterful formal touch call back to the first time he met here- along with being a stand-alone striking image This has been borrowed from many many times including Chazelle’s La La Land. I don’t remember an earlier (or better) use of neon street light in cinema. Hotel Empire’s neon greens-gob-smacking–dazzling.“the powerfully carnal Kim Novak” – David Kehr. Her look at the camera after meeting Stewart again- this time as the brunette Judy-very well done. Stewart is mesmerizing-I mean this is one of cinemas greatest actor’s finest hour (and why not? I mean this is maybe the greatest director’s greatest film)-but Novak is also no slouch either.Blue Velvet doesn’t seem possible without Hitchcock. Of course De Palma just straight up remade it and called it Obsession but has elements of Vertigo from the 360 shot no down in almost all of his films. The doppelgänger (of course turns out not)- the influence of Hitchcock- and Vertigo specifically on De Palma and Lynch is incalculable.He’s damaged-see’s Novak’s Madeleine all over the place. So much to peel back here as auteur cinema- Midge’s character says “mother is here” to Stewart’s character in the asylum.The color-coated red-flashing nightmare surrealism sequence-the dismembered head of Stewart’s, his silhouette falling from the top of the mission tower-just 90 seconds of creative experimental cinema at its finest

Vertigo hitchcock