One certainly hopes that this is not the last of Padilla's book length analyses of Hitchcock's mythopoesis. The author has whetted his tools for analyzing Hitchock's films as adaptations of classical mythology. Unlike, past articles and books that have shown how Greek myths inform the narratives and receptions in various cinematic works by the great auteur, Mark Padilla turns his full attention to Hitchcock's focused manipulation of classical myth in what is arguably the greatest cinematic narrative. No treasure in this deep dive into Vertigo has been left submerged. Throughout current scholarship, we have come to know that Orpheus and Eurydice were in Vertigo ever since Boileau-Narcejac sowed the overt acknowledgements into the source novel and Hitchcock curiously obscured them. Padilla explores this process to show us that there is so much more mythology lurking for detection and interpretive analysis. Padilla writes with such learning and clarity that we will consider his new insights with new curiosity at every subsequent viewing of Vertigo. Padilla reasons through his arguments with authoritative verve -- he has been watching, writing on, and reading Hitchcock for the better part of a decade, and it shows.

Few (if any!) readers of this book will have read everything that Padilla cites, inviting the reader to probe further. It is a work of considerable learning lightly worn. This book's scholarly findings and reasoned speculations will be cited among aficionados and friends, in college classrooms, and by future scholars of Vertigo for a long time to come. riosity at every subsequent viewing of Vertigo. Padilla reasons through his arguments with authoritative verve -- he has been watching, writing on, and reading Hitchcock for the better part of a decade, and it shows. Few (if any!) readers of this book will have read everything that Padilla cites, inviting the reader to probe further. It is a work of considerable learning lightly worn. This book's scholarly findings and reasoned speculations will be cited among aficionados and friends, in college classrooms, and by future scholars of Vertigo for a long time to come.

riosity at every subsequent viewing of Vertigo. Padilla reasons through his arguments with authoritative verve -- he has been watching, writing on, and reading Hitchcock for the better part of a decade, and it shows. Few (if any!) readers of this book will have read everything that Padilla cites, inviting the reader to probe further. It is a work of considerable learning lightly worn. This book's scholarly findings and reasoned speculations will be cited among aficionados and friends, in college classrooms, and by future scholars of Vertigo for a long time to come. riosity at every subsequent viewing of Vertigo. Padilla reasons through his arguments with authoritative verve -- he has been watching, writing on, and reading Hitchcock for the better part of a decade, and it shows. Few (if any!) readers of this book will have read everything that Padilla cites, inviting the reader to probe further.

It is a work of considerable learning lightly worn. This book's scholarly findings and reasoned speculations will be cited among aficionados and friends, in college classrooms, and by future scholars of Vertigo for a long time to come. ons will be cited among aficionados and friends, in college classrooms, and by future scholars of Vertigo for a long time to come.