The editor of Sight and Sound, Nick James, said that Vertigo represented "the ultimate critics' film" and "is a dream-like film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul-mate." Vertigo, regarded as Hitchcock's most personal film, sees the director grapple with the recurring theme of obsession set against the backdrop of San Francisco. The film opens with police officer Scotty Ferguson (Jimmy Stewart), who is forced to retire after his fear of heights leads to the death of a police colleague. Scotty is hired by an old college friend, Gavin Elster, to follow his wife, Madeline (Kim Novak), who has begun to behave strangely. Vertigo is famous for the dolly-zoom camera technique that portrays Scotty's Vertigo: simultaneously the camera zooms-in and pulls-back creating a disorientating feeling culminating in Hitchcock’s spiralling dream-narrative of obsessive love. Hitchcock never used colour so successfully as a metaphor as he does with such nightmarish force in Vertigo. The director’s use of the opposing spectrum colours of red and green conjures up strikingly beautiful contrasts that flowed between the characters of Scotty & Madeline/Judy. From its opening title sequence of Saul Bass’s swirling geometric designs, the viewer is pulled down deep inside a vortex that will later reveal itself through a disturbing obsession with one woman. Vertigo is essentially a film about a repetitive pattern of obsessive love, and the more often we view the film, our experience as viewer becomes deeper and more dreamlike stretching further into the subconscious with every repeated viewing, appearing to resonate with something in our own lives.