#Dizzying Doubles And Deadly Obsession

In order to better understand why “Vertigo” ends the way it does, it is crucial to delve deeper into Scottie’s psyche, and the various psychological triggers that progress his arc throughout the film. Moreover, to view Judy/Madeleine’s actions through the sole lens of morality would mean adopting a rather narrow tunnel vision, as the mere presence of an overt crime does not warrant immediate condemnation (or pangs of guilt). Nor does the absence of crime, as in Scottie’s case, guarantee a guilt-free conscience. 

Just like guilt stains the soul of Joseph K., an innocent man accused of a crime he is unaware of, in Franz Kafka’s “The Trial,” Scottie’s guilt of having witnessed the death of the police officer manifests in physical ways — acrophobia and vertigo.

This overarching anxiety, accompanied by the sheer inability to face his own fears, is what allows his old friend Elster to carry out his elaborate murder scheme. However, this very anxiety is exacerbated by Scottie’s sexual desire for Judy/Madeleine, which is an integral aspect of Elster’s intricate plan. Even after the ploy is unveiled, Scottie’s desires are pinned on “Madeleine,” the psychosexual mental imprint of his friend’s actual wife, despite the fact that he is acutely aware of Judy’s reality.

One also has to consider that another reason why Scottie is so taken with Madeleine is the larger-than-life family backstory of Carlotta Valdes, which further fuels his obsession to the point of clinical breakdown and disorientation.