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Crime, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock


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James Stewart as L. B. 'Jeff' Jefferies
Grace Kelly as Lisa Carol Fremont
Wendell Corey as Det. Lt. Thomas J. Doyle
Thelma Ritter as Stella
Raymond Burr as Lars Thorwald
Judith Evelyn as Miss Lonelyhearts
Ross Bagdasarian as Songwriter
Georgine Darcy as Miss Torso
Sara Berner as Wife living above Thorwalds
Frank Cady as Husband living above Thorwalds
Jesslyn Fax as Sculpting neighbor with hearing aid
Rand Harper as Newlywed man
Irene Winston as Mrs. Anna Thorwald
Havis Davenport as Newlywed woman
Rear Window Storyline: Professional photographer L.B. "Jeff" Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. He begins to suspect that a man across the courtyard may have murdered his wife. Jeff enlists the help of his high society fashion-consultant girlfriend Lisa Freemont and his visiting nurse Stella to investigate.
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An original, intruiging work... brilliantly cinematic
Yes, Rear Window is probably the film that has finally made me accept Hitchcock's genius. I loved "Vertigo", appreciated "Psycho", was irritated by "Spellbound", was partial to "Strangers on a Train", was intruiged by "The Wrong Man" and fairly enjoyed "North By Northwest"... "Rear Window" is probably his finest work that I have yet seen... open, as it is, to many, varied interpretations.

While "Vertigo" had a more domineering score, photography and general artifice, "Rear Window" has a greater impact for me. While "Vertigo" was gripping, this one was positively electrifying in that department. The fact that Hitchcock managed such a multi-faceted, intruiging effort with the original conceit he adopted - to make a film from one set, and one single vantage-point - is astounding. I've not heard of the novel it was based on, but this is one hell of a script. All of the characters, and that's partially including the ones viewed by Stewart's L.B. Jeffries, are fully fleshed out and flawed. I found Thelma Ritter's performance amusing, and believable, providing the Bel Geddes (in "Vertigo")-type role early on, and then developing interestingly. Grace Kelly's Lisa is a fascinating character, more than you'd initially suspect. Undeniably beautiful, but also frustrated, passionate, devious and desperate in equal part. While Jeffries, or perhaps his accident (a typically important little detail that Hitchcock uses brilliantly, like Stewart's vertigo in "Vertigo"), starts the whole voyeuristic business, Ritter and to an interesting extent, Kelly collaborate with his fancies. Stewart's role is a great one, that of a deeply flawed, and disturbingly obsessed voyeur. It is sure that, at least with the films he made for Hitchcock, Stewart fulfilled all of his promise as an actor. From the wonderfully casual early scenes, to his gradual obsession with a particular house, his acting is brilliant in conveying the character's less-than-positive traits. It seems absurd at first that he be resistive at all to Kelly, but gradually their relationship is made complex, with perhaps Kelly's motivations in the film's later stages intruiging to consider, if she is or not as "perfect" as Stewart earlier claims. There is twist after twist in characterisation, theme and plot, with the final 15 minutes particularly striking in this regard. The conclusion is brilliantly ironic. Audience expectation and sympathies are toyed with exceptionally by Hitchcock at every turn. The themes are manifold, with voyeurism the guiding one. Themes are linked with character, and are effectively tackled; Wendell Corey's character pretty much emphasising the voyeuristic theme with a pertinent quote that I can't exactly recall.

The direction is superb, as you would expect from Hitchcock (its his fascinating, complex use of narrative, character and theme that eleveates this work above so many of his other films), engendering many different moods, but none untainted by corruption in some way. The photography is impressive, giving the restricting settings a pungeancy. Hitchcock and his photographers always tending, at least with "Vertigo" and "Rear Window", to capture colour in a more vivid, expressive and importantly, atmospheric light than most in the history of colour film. Perhaps pivotal in my view is the brilliant use of music, distant, from the houses Stewart spies on, especially the haunting piano tunes (referred to yearningly by Kelly's character) from one home. This adds contrast and depth to many scenes, both within and without of Stewart's flat.

It seems a waste that there are so few films that try, and succeed, in capturing this film's mood and devices. In many ways, I felt David Lynch's "Blue Velvet" to capture some of its suspenseful brilliance. Terence Young's 1967 film, "Wait Until Dark" was very nearly as tense and exciting, and also well worth checking out if you love "Rear Window". No doubts are there, that "Rear Window" is one of the "classics" more than deserving of its status. Rating:- *****/*****
An Interesting Psychological Thriller
One of the most remarkable things about Rear Window is the way in which the perspective of the cinematography contributes to a feeling of claustrophobia for the viewer as we experience everything outside of the protagonist's apartment from his point of view looking out of his window as he recuperates from a broken leg. The film is an interesting commentary on voyeurism, privacy, and gender although I wish that the plot had been a bit more developed than it was and that the audience was given more context for the murder of the villain's wife, the event which drives the action in the movie. I also wish that the conflicted feelings of the protagonist in reference to marrying his girlfriend had been dealt with in a fuller sense.
Another Hitchcock masterpiece
Alfred Hitchcock is considered by most to be the master of suspense. I believe he was also a master of understanding human nature. He intuitively understood that human beings are voyeurs by nature, not in the perverted sense, but in the curious sense. We are a species that slows down to look at accident scenes and steals furtive glances at lovers in the park who are oblivious to everything but each other. A major appeal of cinema and television is that they offer us an opportunity for guilt free voyeurism. When we watch a film, aren't we in essence looking through a window and watching people who behave as if they don't realize we are there?

Hitchcock realized this and took voyeurism to the next level, allowing us to watch a voyeur as he watched others. While `Rear Window' as a whole is probably not quite at a level with `Vertigo' (which was far more suspenseful and mysterious with a powerful musical score) as a cinematic accomplishment, it is more seductive because it strikes closer to our human obsessions. Hitchcock's mastery is most evident in his subtle use of reaction scenes by the various characters. We watch an event that Jeff (James Stewart) is watching and then Hitchcock immediately cuts to his reaction. This is done repeatedly in various layers even with the other tenants as they interact with one another. For instance, in the scene with Miss Lonelyheart (Judith Evelyn), we see her throw out the man who made a pass at her and then we see her reaction after she slams the door, followed by the reaction of Jeff and Lisa (Grace Kelly). In another scene, Detective Doyle (Wendell Corey) sees Lisa's nightclothes and presumes she will be staying the night. Hitchcock shows the suitcase, then Doyle's reaction, and then he goes to Jeff who points his finger at him and says `Be Careful, Tom'. This elegant scene takes a few seconds and speaks volumes with little dialogue. Such technique gets the viewer fully involved, because if we were there this is exactly what we would be doing, watching the unfolding events and then seeing how others around us responded. In essence, it puts us in the room with them.

Hitchcock was a stickler for detail. For instance, he aimed the open windows so they would show subtle reflections of places in the apartment we couldn't see directly. However, there were certain details included or excluded that were inexplicable. Would Thorwold really be scrubbing the walls with the blinds open? Would Lisa be conspicuously waving at Jeff while Stella (Thelma Ritter) was digging up the garden? Moreover, wouldn't Lisa have taken off her high heels before climbing a wall and then a fire escape? This film had numerous small incongruities that are normally absent from Hitchcock films. Though these are picayune criticisms, they are painfully obvious in the film of a director known to be a compulsive perfectionist.

The acting is superb in this film. Jimmy Stewart is unabashedly obsessed as the lead character. Photographers have an innate visual perceptiveness and the ability to tell a story with an image and Stewart adopts this mindset perfectly. Grace Kelly has often been accused of being the `Ice Maiden' in her films, yet in this film she is assertive and even reckless. Though cool at times, she is often playful and rambunctious. I always enjoy Thelma Ritter's performances for their honesty and earthiness and this is another example of a character actor at her best. Raymond Burr often doesn't get the recognition he deserves for this role, which is mostly shot at a distance with very few lines. Yet, he imbues Thurwold with a looming nefariousness using predominantly physical acting.

This film was rated number 42 on AFI's top 100 of the century sandwiched between `Psycho' (#18) and `Vertigo' (#61). I personally think more highly of `Vertigo' but it is a minor distinction, because I rated them both 10/10. `Rear Window' is a classic, a masterpiece of filmmaking technique from a director who was a true pioneer of suspense.
Considered one of Hitchcok's best, comes across a bit dated in the 21st century.
Generally considered one of the best of all time, "Rear Window" is a very simple story filmed in the Hitchcock manner to provide suspense. I rate it "8" of 10. Jeff (Jimmy Stewart) is a world-traveling photographer confined for several weeks to his Greenwich Village apartment by a broken leg and cast up to the hip. He soon spends all his waking hours watching his apartment neighbors across the courtyard through his rear window, using binoculars and the telephoto lens and camera. Eye-candy is provided by 25-year-old Grace Kelly, in the same year she made "Dial M for Murder", and only a few years before she became Grace of Monaco. (Current starlet Julie Bowen of TV series "Ed" looks amazingly like Grace Kelly).

As Jeff watched neighbors, he becomes suspicious of one (Raymond Burr), a salesman with a wheelchair-bound wife who disappears suddenly on a rainy night. Clues he pieces together from his voyerism convinces him that she was murdered. The police help only reluctantly, and Kelly actually goes into Burr's apartment at one point, is caught, is threatened, until police show up. Burr in the final scene tries to throw Stewart out the window, is nabbed, Stewart falls, and the very final scene shows him in casts on both legs!

To accurately rate a film you have to compare it not only to what came out during the same era, but also everything since. With that criteria, I don't believe "Rear Window" is one of the best of all time. Still, a pretty good flick.

Overrated Suspense Flick
Rear Window is certainly well shot and the suspense is there. However, the mystery isn't. It's very predictable. That's fine, but unfortunately Stewart isn't a very convincing actor. Coming off of "Vertigo", I was thankful he was portraying a photographer (Jeff). Well, this is supposed to be a "tough" photographer who wears boots, treks through jungles and eats grizzly tribal foods in foreign lands. He doesn't look or act "tough" in any way.

There was a scene near the beginning of the film where Jeff was supposed to doze off, not being able to stay awake and watch out his window any longer. It looked more like he was having a stroke than falling asleep. If a Hollywood actor can't convincingly fall asleep, that's a problem.

The film is filled with just downright unrealistic events.

To go through some of the more extreme examples: At the end of the film after Jeff falls from the window, the policeman pokes his head out to report a full confession with multiple details. This was 10 seconds after they pulled the killer off of Jeff. All that in 10 seconds? I don't think so.

Prior to that, Jeff was hanging only by his fingers/hands on the ledge. He has a big, strong looking man pushing on him but somehow his fingers have superman strength (yes, that is a 1998 Rear Window remake jab at Christopher Reeve). Of course, it's only when the police stop the killer that he falls.

The scene prior to this with his camera flashes was the dumbest killer/victim scene I've ever seen. Basically, the killer is standing at one end of the room and Jeff in his wheelchair at the other. He puts a bulb in his flash and sets it off, temporarily blinding the killer. The camera focuses close in on him rubbing his eyes, stopping him in his tracks then recovering. He takes one more step, and this whole process repeats about 4 or 5 times until he finally reaches him. Of course, it's at this point that the police coincidentally show up and he's able to scream for help. It's comical.

Earlier in the film, Jeff's girlfriend is being strangled/attacked. He and his nurse just watch. He squirms like a pansy and says "Oh gee, what do we do?" Oh gee, golly whiz, what do you do? Well for one, if someone's life is in serious danger, you don't do nothing. You could scream. Yes, screaming out and saying "HEY A**HOLE, I CALLED THE POLICE! WE SEE YOU ATTACKING HER!" would actually be a rational thing to do. But, the police magically show up literally 15 seconds after he calls them and save the day.

The problem is all of these unrealistic scenes were unnecessary. They could have easily been replaced with realistic alternatives. Great movies don't require the viewer to throw rationality out the window (no pun intended). For that reason, I feel the film is quite overrated. I also think the Freud analysis of the movie some people have like "it's a take on society's obsession with voyeurism" is complete nonsense. No, it's actually not. It's actually a crime-suspense film about a nosy, bored neighbor stumbling upon a murder - not a message to viewers about society's inner perversions.
Looking Through the Rear Window
Hitchcock was a master of his craft- everyone is aware of that- and his ideas revolutionized and popularized the thriller genre, one of my personal favorites. Skimming through his rich filmography, every addition is fueled by unmatched suspense. This is no different with one of Hitchcock's highly-acclaimed classics, Read Window. The film promises so much potential with its opening act in which the camera is technically the first participant and onlooker as it manages to give us a considerable amount of backstory without any verbal language in its first five minutes or so. It carefully observes a fascinating environment/setting- one in which every neighbor's life is visible through their open windows. The way the set was built and is in appearance is simply genius and (almost) never was the set of a film as crucial to its story and themes as it is here.

Right from the get-go, you witness an underlying theme in that this picture conveys the isolated and individualistic nature of neighborhoods in our current world. No one seems to be interested in their neighbors besides Jeff (and he even mentions this in one of his clever lines) so much so that they aren't even concerned about what they're actually partaking in those rooms of theirs; the neighbors are never aware anyways. However, on the opposite side, it can be argued that people in current society are frankly too obsessed with another's conversation or activities. Apparently, we stick our noses in everyone's business, and it can be argued on a political scale as well. We do, in fact, watch our foreign neighbors far too closely with invasive binoculars, and in this manner, Jeff could actually be perceived as the villain of Rear Window in a way. In sum, there are countless perspectives one can judge this film from, occasionally conflicting with one another due to their opposing scopes.

Anyways, I can't place my eye on the exact reason, but actors were so much more capable of delivering with a charming character back in those days because the audience immediately recognizes the charisma of the film's protagonist as he daringly speaks out with clever, hilarious, and/or downright convincingly serious lines. His lovable personality is loud and clear with the story's development, and eventually, it's met with the beauty of Grace Kelly's character (Lisa). On a side note, as the intriguing plot progressed, the whole idea undoubtedly reminded me of Disturbia (2007).

Moving on, albeit its heavily suspenseful and compelling nature, there were some faults I happened to identify. First of all, did the entire case really mean that much to Jeff to the point where he just couldn't bring himself to yell out when Lisa, his future wife, was endangered by Mr. Thorwald's intimidating and threatening presence? There was a sense of awkwardness in that I was viewing this curious fellow experiencing anxiety with visible sweat pouring down his face though he still continues to watch on as his love nears possible death.

In addition, the result of this riveting mystery felt somewhat anticlimactic, and this slightly stemmed from the expectations one usually possesses upon viewing a Hitchcock film for there is usually a twist that shocks and awes the audience towards its end. We never got that from Rear Window as everything was exactly as it seemed. It could've been the main point of the feature, but still, I predicted the garden being the burial spot of the poor woman in the movie's first hour. And if the message of the film was that everything is truly as it seems, then why did another theme intrude the ending where you see a short, fat lover show up at the breathlessly gorgeous model's apartment? There and then, it seemed as if not everything is what it seems; so, already you have two contradictory (possible) themes on your plate. Which one was Hitchcock's actual intention? After all is said and done, Rear Window is a fantastic thriller with a not-as-satisfying end result, but it definitely impressed me the way most Hitchcock films have already. (North by Northwest is definitely next on my list.)
Hitchock Classic
Rear Window is considered one of Hitchcock's classics, and is probably Jimmy Stewart's most famous Hitchcock Role. Stewart plays an adventure-seeking photographer who is laid up for seven weeks in his apartment with a broken leg. During this time, he has become vicariously involved with his neighbors; looking out his rear windows and following their lives. As the final week of his incapacity begins, he begins to suspect that one of his neighbors has killed his wife, and pretty soon his girlfriend (Grace Kelly) and nurse (Thelma Ritter) realize that he may be right.

I seem to get more out of Rear Window the older I get – there are subtleties to the relationship, and to the lives of the other apartment dwellers that I catch as an adult, and didn't when I was younger. One thing that has remained a constant however is the methodical pacing and the slow tension that builds up to outright terror. I get just as tense and nervous during the last ten minutes of the film as a 30 year old as I did when I first saw the film at age 10. It is only as I got older that I realized the helplessness of Stewart's character, and how important that element was to the plot along with its contribution to the uneasiness of the film.

I've heard more than once that people have been bored during this film – of course, that is an opinion and cannot be judged, but I find it hard to relate to that, as I believe that even without the elements of suspense, Rear Window still makes a great story and film: Which is just one of the many reasons it remains one of my favorite Hitchcock films to this day.

So brilliant and yet not...
I'm quite frustrated having watched this one. I'll get to that later...

Rear Window is about Jeffries, a photographer for a magazine in a kind of half-way house (Or maybe it's his own place) after an accident broke his leg. With nothing to do all day he stares out the window onto the courtyard and watches his neighbours' various lives. However, after a while one of them seems to go missing and her husband seems suspicious in his behaviour, so Jeffries decides he must have killed her. The rest of the movie sees Jeffries bringing his girlfriend and nurse in on the paranoia, as well as a detective friend he has.

The acting is terrific, no 2 ways about it. Superb, witty dialogue which exudes intelligence handled charismatically by all players. They truly suck us into their world, as the incredibly claustrophobic direction does. The cinematography is amazingly effective given the movie is set in one room, and makes the viewer as involved in the story as any movie I've seen. Hitchcock does a fine job here.

Moreover the plot itself is utterly gripping, and, not surprisingly, suspenseful, and all 3 factors combine to give it all a level of charm which really smarts.


The film just 'ends'. There's no twist, no plot, no explanation, nothing. What they suspected was the truth. The end. And this is what frustrates me about the movie.


It's a fine piece of cinema, but ultimately because of the reason I state in the spoiler, it's a bit hollow.
Rear Window
Hitchcock takes all the ingenuity of previous films like Rope and Lifeboat, and translates them to Rear Window, one of his true masterpieces. Taking place in one apartment where the viewer is forced to see what Jimmy Stewart's character sees, we are the voyeuristic witness to all the goings-ons of his neighbours. Frequently we look into their homes and become a passive viewer of their lives, wondering why they do what they do, what they will do next, and whether anyone can see us. Not only is it a technological treat, it is a pinnacle of tension and suspense, complemented by the twisting plot, excellent dialogue, and marvellous performances from all.

Stewart plays LB Jefferies, or Jeff, a well travelled photographer who hates the idea of settling down, of being trapped in the same place for any length of time. Ironically he has broken his leg, and is forced to stay in a wheelchair, in his apartment for a few months. Through his boredom, and his window, he watches his neighbours and the daily actions, giving them nicknames because of their behaviour. There is Miss Torso, an amorous young dancer, the newly-weds who like to keep themselves to themselves, Miss Lonely Hearts who spends her days planning how to catch the attention of men, and spends her nights failing. There is a tormented pianist whose music fills the air, and couple and their annoying dog. Lastly there is Lars Thorwald and his wife who are often arguing. Lisa is Jeff's girlfriend, a socialite who wants the opposite of Jeff- marriage, new dresses, and a place in high society. Their nurse Stella also visits to add some humour and spark. Jeff becomes suspicious when Thorwald's wife disappears, and at night he sees Thorwald acting strangely; taking small packages wrapped in paper from his flat, going back and forwards. Jeff becomes convinced that Thorwald has murdered his wife, and with Stella and Lisa begins to try to prove what they believe to a detective friend. They search for a body, for evidence that Miss Thorwald is alive etc, and soon we too are captivated, wondering if she is dead, or if it is all just a mistake.

The last 20 minutes of Rear Window must rank among the most suspenseful in movie history, and its influence can still be seen today even in modern horror movies such as Ringu. The voyeuristic qualities are impressive and effective, and we are truly brought into the room with Stewart. There is excitement, comedy, romance, mystery, all the trademarks of Hitchcock, all flawlessly shown. Kelly is beautiful and feisty, her entrance memorable, her character strong, and in the end we see that although she will succumb slightly to Jeff's needs, she will remain independent. Stewart is wonderful, giving yet another landmark performance conveying paranoia, annoyance and helplessness like few other actors can. Burr is frightening as Thorwald, and Ritter is extremely good as Thelma, adding much needed relief from the tension with tongue in cheek humour. Each of the neighbours is distinct and we come to understand them. Full of cynicism about people, love, romance and relationships, though not harsh, Rear Window is one of the great films of the 50's, and is still highly watchable and entertaining today.

9 out of 10
A Deep & Entertaining Classic
One of Hitchcock's greatest masterpieces, "Rear Window" is a deep and entertaining classic with many strengths, and a little bit of everything. A fine suspense story is combined with romantic tension in the main plot, and there are numerous sub-plots, some humorous and some moving, all with many psychological overtones. The main characters are wonderfully portrayed and full of life. The apparently simple setting in an apartment complex is developed into a world filled with intriguing and sometimes unsettling possibilities, and this apparently average neighborhood comes to life with a wealth of lavish visual detail and interesting minor characters. It is the kind of film-making that (like many of Hitchcock's greatest movies) is very flattering to the viewer. The director assumes that his audience will pay close enough attention to appreciate the many subtleties with which he has filled the movie. It rewards both careful attention and repeated viewings, since there is much more here than merely a suspense plot, as good as that story is in itself.

For the first 30 minutes or so, we simply get to know the characters. Jimmy Stewart gives one of his best performances as a photographer recuperating from an injury, forced to spend several weeks staring out his apartment window at the minor dramas in the lives of his neighbors. Grace Kelly is ideal in the role of his perfect girlfriend, who can never find a way to break down Stewart's reserve. The study of their relationship would have made a good movie by itself. Almost every action and every word between them is filled with meaning, and what they see in the lives of others is an interesting reflection of the tensions and possibilities in their own present and future. Thelma Ritter is wonderful as a colorful, no-nonsense nurse who constantly sheds some light - sometimes unwanted - on what is happening between them. The action and suspense that occur later serves in large part as a catalyst that resolves some of the important issues between the two.

After we get to know the characters and their world, things start to happen, as Stewart becomes engrossed in some of the things he has seen. The ethical and moral concerns of meddling in others' affairs become intertwined with more urgent questions about what may have happened in those other apartments, and from then on the tension builds steadily. It leads up to a riveting climactic sequence filled with suspense, and made even more meaningful by our awareness of its deeper significance to the main characters.

There is much more that could be said, but you should see this for yourself. It is a classic that will be enjoyed not only by thriller fans, but by anyone who appreciates carefully crafted movies with a lot of depth.
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