Ingmar Bergman's The Faith Trilogy

I'd strongly disagree that what you're referring to is a structural weakness. In fact, I think much of the film's genius hinges on the infamous early reveal, much of it having to do with what you describe just before it. Before the reveal we are invited to sympathize with Scottie and see Madeleine from his perspective, so that we're immersed and mesmerized by the otherworldly mystery. The reveal is one of the great examples of disillusionment in cinema, and it transforms the film from a mystery into a commentary on mystery and the delusive, selfish, misogynistic, destructive power of fantasy ideals.

In the first half of the film, we essentially ARE Scottie, while in the second half, we view Scottie critically as being practically insane; which almost becomes a meta-commentary about how humanity tends to prefer (and pursue) their own delusive fantasies even to the death. It turns the vertigo itself into a metaphor for the sickness we feel when trying to break through our illusions into truth, and the death at the end is arguably the most nihilistic moment in the history of film, suggesting that truth and illusion ultimately lead to the same place. 

Rear Window actually plays with similar themes, but with a more epistemological bend and with more toying with perspective. It's more about the disconnect we can have from reality through telling stories and in constructing our worldview, and is a bit more optimistic in our ability to integrate these different aspects (though not wholly successful given the rather ambiguous note it ends on regarding the relationship). 

I'll also mention that the history of that scene in Vertigo is quite interesting. You're correct that Hitchcock originally didn't want it in, and it was actually cut when the first copies were shipped to theaters. It's a bit of a mystery why it was restored it all. The two leading theories were that an early critics' screening had polar reactions when it was shown with the scene in VS out (they hated it out, loved it when in), and that Alma (Hitch's wife), who was sick at the time the original filming/editing was taking place, was late seeing the edit with the scene cut, and when she did insisted that it needed to be in there, and it's pretty well-known that on matters of debate about his films Hitch usually let Alma have the last say. Hitch's instincts weren't infallible, as another example of his original idea being the wrong one was how he originally planned Psycho's shower scene to be without music, and for that I think it was actually Bernard Hermann who insisted on having some music there. Anyway, here's a long, but good, article on that scene in Vertigo that goes into the history that I briefly mentioned above: somethingelsereviews.com/2015/05/04/alfred-hitchcock-vertigo-flashback-dan-auiler/

Hmmm, I only know of two, one being the flashback/reveal, and the other being the end where Scottie is, errr, expositing all over Judy. What's the third? 

Unless my memory's really foggy, the only time I know we're shown the deception is in the flashback. So that's the first reveal. The tower exposition is the second. You're saying there's a third, but unless I'm missing it (a possibility; it's rather late for me to be online and I'm a bit stoned atm!) I'm not seeing what the third is. One reason the tower exposition doesn't bother me too much is that, even though it is definitely expositional, it's also serving as the dramatic climax and confrontation between Scottie and Judy, and it's also happening during this dark, nightmarish ascent up the tower, which is all the time echoing back to the original ascent/death, but with a very different tone this time. So while it's fair to say that scene is expositional, it's also very much NOT just that. 

The original deception is played out during the flashback, and that's the scene I was talking about/defending earlier. That's also the scene Hitch had reservations about, but Vertigo is an incredibly different film (and, IMO, a lesser one) without that. You also can't nix the final tower ascent either. So if those are the only two reveals, I'm not sure how you can argue either should be cut. Well, scratch that, I can understand why some would argue the flashback should be cut, but I already had my say on why it should stay! 

For fans of Vertigo, if you've never seen Nerdwriter's video analysis of this early scene in the movie, it's definitely worth a watch.

Saw that a while ago. It's a good watch. There was also a funny video that parodied it using The Room: