Yes, I've wondered about that, (Vertigo being considered "minor"), and I can only attribute that view to the film's fairly simplified character development. Robie is explained quite early on, and because it's Hitchcock the audience expects that he'll change radically, one way or the other. But he goes through with his plans and emerges exonerated, without too much trouble. That's fine, though.
I think Hitchcock was slightly diverted by the subplot of getting Cary Grant and Grace Kelly to set up house in that beautiful location, (it was probably a fond wish of his own, in fact). :) There's almost always romance in Hitchcock movies, and this one, being in such a manifestly romantic location, was more like a Romance with Mystery, rather than a straight Hitchcock thriller. Either way, I love it.
This time around, I took the time to soak up Robert Burks' photography, the colours and the framing of scenes. I think Ted Moore's "James Bond" photographic style owes something to him.
All that, plus Bernard Herrman. Say no more. :)
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