It's impossible to view Vertigo or any film labelled the greatest and best without considering that label and whether it's worthy.

I tried to watch Vertigo on its own terms, and I think I succeeded. This is a great movie in its masterful performances, its meticulous direction, and its measured story. The only real flaw I could find is its drawn-out pacing, which mostly drew attention to Vertigo's creepy misogyny.

This is a movie about a man's obsession with a women. An attraction that builds to a preoccupation with idealized perfection, whose unattainability causes destruction. It's a thoughtful story that Alfred Hitchcock sure is clever with. The decision to reveal a certain twist early is brilliant, as it expands the perspective, consequences, and the underlying tragedy. It also makes Vertigo more self-conscious of its male gaze.

Going back to the greatest film ever, Vertigo certainly qualifies, especially for the male-dominated body of critics and filmmakers. Consider that Vertigo's an implicit allegory for auteurism, specifically the auteur's quest to control perfection, the abusive cost of that control, and with Vertigo's acclaim, the celebration of auteurism no matter its abuses.

The issue of the artist's integrity and their acclaim, or judging the art or the artist will not be solved here or ever. I do think it's always worth exploring those questions. Alfred "Actors are Cattle" Hitchcock certainly did in his own way with Vertigo and its creepy subconscious investigations. While neither Hitchcock or his colleagues made progress, they knew something was up. It's complex and resists conclusions.

In reflecting on our past, we affirm our responsibility to make a better future.