reviews is a lack of sympathy with the basic structure and drive of the picture. Even the friendlier ones single out for praise elements that seem, from today's perspective, to be marginal virtues and incidental pleasures – the 'vitality' of the supporting performances (Dilys Powell in The Sunday Times), the slickness with which the car sequences are put together (Isobel Quibley in The Spectator)". In France, Éric Rohmer noted in Cahiers du Cinéma that "Vertigo, so they say, repelled Americans. French critics, on the contrary, seem to be giving it a warm welcome." Praising the film's formal technique, he wrote that "ideas and forms follow the same road, and it is because the form is pure, beautiful, rigorous, astonishingly rich, and free that we can say that Hitchcock’s films, with Vertigo at their head, are about ideas, in the noble, platonic sense of the word." Additional reasons for the mixed response initially were that Hitchcock fans were not pleased with his departure from the romantic-thriller territory of earlier films, and that the mystery was solved with one-third of the film left to go. Orson Welles disliked the film, telling his friend, director Henry Jaglom, that the movie was "worse" than Rear Window, another film that Welles disliked. In an interview with François Truffaut, Hitchcock stated that Vertigo was one of his favourite films, with some reservations. Hitchcock blamed the film's failure on the 49-year-old Stewart looking too old to play a convincing love interest for the 24-year-old Kim Novak. A young Martin Scorsese viewed the film with his friends during its original run in New York City, and later recalled that "even though the film was not well received at the time... we responded to the film very strongly. [We] didn't know why... but we really went with the picture." Hitchcock and Stewart received awards at the San Sebastián International Film Festival, including a Silver Seashell for Best Director (tied with Mario Monicelli for Big Deal on Madonna Street (aka Persons Unknown)) and Best Actor (also tied, with Kirk Douglas in The Vikings). The film was nominated for two Academy Awards, in the technical categories Best Art Direction – Black-and-White or Color (Hal Pereira, Henry Bumstead, Samuel M. Comer, Frank McKelvy) and Best Sound (George Dutton). Re-evaluation Over time the film has been re-evaluated by film critics and has moved higher in esteem in most critics' opinions. Every ten years