《迷魂计》是影片制作技巧的大突破，包括首次使用矮盘车搬动摄影机和保持物体焦距、迅速调整远近镜头的摄影技术等。片中史都华晕眩的场面均以此种方式拍摄，效果颇佳。如同希区考克曾向特拉豪(Truffant)所描述的：“我永远都记得，有天晚上我在伦敦亚伯特大厅(Albert Hall)的查西亚艺廊(Chelsea Arts Boll)上喝得酪酊大醉，整个人的感觉是好像所有的东西，都迅速地往我身后飞去。”当初拍摄《蝴蝶梦》(Rebecca)时，希区考克就曾试图采用这种视觉效果，但成效不佳；从此这个难题便困扰著他十五年。为了制作在片中多次出现的在钟楼上晕眩的效果，经过多次的实验后，才总算想到运用矮盘车将摄影机从楼梯处移开的方法(利用物理学的原理移动摄影机)，同时，再以演员为焦距，调整远、近镜头。当他把这个概念介绍给他的成员时，才知道所需经费高达五万美金。大吃一惊的希区考克连忙询问，为何需要如此高昂的费用，他们的答覆是：“想要把摄影机高举到楼梯的顶端，并留下回旋的空间，必须制造一具相当大的机械才行。”
"Vertigo" is one of the most analyzed films in the history of cinema, and is one of cinemas greatest collaborations; that of Bernard Herrmann and Alfred Hitchcock. An undisputed work of movie art, it is considererd possibly Herrmann's finest work! Its melodic content is unusually rich and tightly interwoven as well as the scores harmonies and orchestral colorations. The OPENING TITLES use a 'triadic' figure, ascending and descending punctuated by phrases and chords all of which are extremely musical, capturing the full emotions of the title. THE NIGHTMARE sequence uses a 'Tempo di habanera, giving it a terrifying reading as well as dissonant chords; displayed whenever Herrmann depicts trauma or death. In the 'SCENE D' AMOUR, he comes through with a completely self contained presentation of the 'love theme'. This beautiful music brings forth anticipation, tension and anxiousness as it blossoms to the final resolution of the scene. It is a testament to his genius that he could sustain us with such music for over 3 minutes ; virtually without any dialogue!! When the film first opened it was met with mixed and contraversial reviews. However, over the years, critics have now concluded that it is, arguably, one of the 10 best films ever made!