As they have done every ten years now for the last six decades, Britain’s Sight & Sound magazine has released its usually dependable and considered definitive Best of All Time film list. A massive undertaking, involving the polling of filmmakers, critics, scholars, and other influential figures, the breakdown of cinema’s 100-plus years of existence always causes celebration, and consternation. It’s a debate point, a “told ya” tenet of where we think we are culturally as well as a primer for those who need some schooling in their appreciation of the artform. This year, the social network topic of conversation was the displacement of Orson Welles’ seminal and highly influential masterpiece Citizen Kane from the number one slot. In its place - the equally transcendent work of celluloid art, Alfred Hitchcock’s Vertigo.
For some, the selection was a scandal. Kane, which had held the top spot for more than 50 years, is often considered the blueprint for modern moviemaking. From its meaningless mystery core (who or what ‘Rosebud’ is becomes less important than the vignettes of the man who mumbled said famous last word) to the stunning using of various aesthetic flourishes and tricks, Welles turned the populist entertainment format into something akin to a canvas, taking everything he had in his creative paintbox and placing it square within his carefully created framing. The same can easily be said for Vertigo. Hitchcock, at the height of his popularity and powers, poured his personal obsessions and fetishes into a film which, again, offers a pointless whodunit design shrouded in sublime craftsmanship.