Compare the Representation of Gender in ‘Sunrise’ and ‘Vertigo’
Murnau and Hitchcock present a distinctively male character surrounded by two women; the
Husband in ‘Sunrise’ and Scottie with Judy and Midge in ‘Vertigo’. Both directors have explicit details
that outline each characters’ masculinity or femininity.
The Wife, for instance, in ‘Sunrise’ is seen to be quite the angelic, motherly character. Murnau
creates this effect with his use of lighting and costume during the film. Murnua made Gaynor, the
actress of the Wife, wear a bright blonde wig, one that would be light in the black and white film.
This presents her as being innocent. Often framed by seemingly natural sunlight, although we know
it was shot in a studio, makes the character appear angelic and as a protector, alike to a mother.
Hitchcock, in a way, does the same with the character of Midge. Midge is an independent, young
woman whose friendship with Scottie could be seen to possess motherly properties. Not only is she
sporting light, pastel coloured clothing, - much like that of the Wife – she is often a support for
Scottie. For instance, the mid close up shot after Scottie faints near the beginning could demonstrate
qualities of motherly care. In addition to this, Midge is a confidant and source of information for
Scottie, for example, Scottie goes to Midge in an attempt to learn more about Carlotta Valdes; Midge
directs him and accompanies him to a bookshop. Both Midge and the Wife are portrayed as giving
maternal love and a support for the men in their lives.
For these men, there is a temptress, bringing a more lustful and sexual aspect to the female
characters. In ‘Sunrise’, the Woman of the City (Woman) is a seductive and unashamed woman
leading the Husband in his infidelity. Murnau dresses her up in black satin amidst her cigarette
smoke, instantly identifying her as a mysterious, almost dangerous, sexual predator. She is further
seen, uncaringly, controlling a poor country family in polishing her shoes for her – conveying her
ignorance of love but also her dominating features – more traditionally associated with men.
Similarly, Madeleine in ‘Vertigo’ gives off a sexual allure, for instance, being first seen in an emerald
green dress at Ernie’s. The colour green holding connotations of envy and passion. Hitchcock also
frames her with frame-in-a-frame shots that illustrate her as a painting and could foreshadow her
idealisation that Scottie develops throughout the movie. Similarly, when Madeleine is at Scottie’s
apartment the first time, she is stripped from her, albeit wet, clothing and positioned in his bed.
Whilst that alone isn’t sexually predatory, Scottie gives her a deep red robe to cover herself. Red
traditionally being the colour of love and allure. This red costuming conveys a sexual nature for the
male audience. Thereby, through positioning and costuming both directors present female
characters as being temptresses.
Scottie and the Husband, though, possess little similarity. However, they do both have conflict within
them in terms of women. The directors present the male gender as determined by women. The
Husband, for example, genuinely contemplates the Woman’s suggestion of “could she be drowned?”
in regard to the murder of his wife. The Husband is seen holding the reeves from the lake alike to
how he would go about murdering his wife. Despite this, he is again swayed by his wife – with her
pleading eyes – to not killed her. This demonstrates the active indecision caused by the women in his
life. Scottie, in a different way, shares this conflict. When Scottie decides to transform Judy into
Madeleine he is unable to kiss her before she makes the changes. This rejection of Judy stands as a
testament to how disillusioned he is to who Madeleine is. Scottie is so taken by the illusion of
Madeleine that he is unable to view Judy as Judy. This mental battle for both men suggests a
weakness in them in being to easily swayed by the woman in their lives.
Murnau and Hitchcock present a distinctively male character surrounded by two women; the
Husband in ‘Sunrise’ and Scottie with Judy and Midge in ‘Vertigo’. Both directors have explicit details
that outline each characters’ masculinity or femininity.
The Wife, for instance, in ‘Sunrise’ is seen to be quite the angelic, motherly character. Murnau
creates this effect with his use of lighting and costume during the film. Murnua made Gaynor, the
actress of the Wife, wear a bright blonde wig, one that would be light in the black and white film.
This presents her as being innocent. Often framed by seemingly natural sunlight, although we know
it was shot in a studio, makes the character appear angelic and as a protector, alike to a mother.
Hitchcock, in a way, does the same with the character of Midge. Midge is an independent, young
woman whose friendship with Scottie could be seen to possess motherly properties. Not only is she
sporting light, pastel coloured clothing, - much like that of the Wife – she is often a support for
Scottie. For instance, the mid close up shot after Scottie faints near the beginning could demonstrate
qualities of motherly care. In addition to this, Midge is a confidant and source of information for
Scottie, for example, Scottie goes to Midge in an attempt to learn more about Carlotta Valdes; Midge
directs him and accompanies him to a bookshop. Both Midge and the Wife are portrayed as giving
maternal love and a support for the men in their lives.
For these men, there is a temptress, bringing a more lustful and sexual aspect to the female
characters. In ‘Sunrise’, the Woman of the City (Woman) is a seductive and unashamed woman
leading the Husband in his infidelity. Murnau dresses her up in black satin amidst her cigarette
smoke, instantly identifying her as a mysterious, almost dangerous, sexual predator. She is further
seen, uncaringly, controlling a poor country family in polishing her shoes for her – conveying her
ignorance of love but also her dominating features – more traditionally associated with men.
Similarly, Madeleine in ‘Vertigo’ gives off a sexual allure, for instance, being first seen in an emerald
green dress at Ernie’s. The colour green holding connotations of envy and passion. Hitchcock also
frames her with frame-in-a-frame shots that illustrate her as a painting and could foreshadow her
idealisation that Scottie develops throughout the movie. Similarly, when Madeleine is at Scottie’s
apartment the first time, she is stripped from her, albeit wet, clothing and positioned in his bed.
Whilst that alone isn’t sexually predatory, Scottie gives her a deep red robe to cover herself. Red
traditionally being the colour of love and allure. This red costuming conveys a sexual nature for the
male audience. Thereby, through positioning and costuming both directors present female
characters as being temptresses.
Scottie and the Husband, though, possess little similarity. However, they do both have conflict within
them in terms of women. The directors present the male gender as determined by women. The
Husband, for example, genuinely contemplates the Woman’s suggestion of “could she be drowned?”
in regard to the murder of his wife. The Husband is seen holding the reeves from the lake alike to
how he would go about murdering his wife. Despite this, he is again swayed by his wife – with her
pleading eyes – to not killed her. This demonstrates the active indecision caused by the women in his
life. Scottie, in a different way, shares this conflict. When Scottie decides to transform Judy into
Madeleine he is unable to kiss her before she makes the changes. This rejection of Judy stands as a
testament to how disillusioned he is to who Madeleine is. Scottie is so taken by the illusion of
Madeleine that he is unable to view Judy as Judy. This mental battle for both men suggests a
weakness in them in being to easily swayed by the woman in their lives.
