All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
It only takes one witness to spoil the perfect crime.
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.
Although most recent critical attention has been reserved for Alfred Hitchcock’s Vertigo, thanks to its vertiginous placement atop Sight & Sound’s prestigious critics poll, it could be argued that not only does his seminal 1954 picture, Rear Window, most clearly represent the director’s own obsessions but that it may well be his greatest achievement as a filmmaker.
Even if you haven’t seen the film yourself (and if you haven’t stop reading this review and watch it now) you will at least be familiar with the story. Not only has the plot of a wheelchair bound photographer who believes he has witnessed a murder become ingrained in the public’s consciousness but it has been remade and re-imagined numerous times in many different…
Like L.B. Jefferies, you can't help but look. The cinema, in a nutshell, is a voyeuristic lifestyle. Every time those lights go down, every time new characters are introduced, and every time a frame does by; the collective audience is being drawn deeper into another world. In the best movies, you feel different and you know more about the world as the final shot rolls around.
Rear Window, one of Alfred Hitchcock's finest works, is an utterly incredible tale of voyeurism in miniature. Every open window in the blistering apartment complex that Hitchcock's camera resides in leads to another character, another emotion, another scene, and another mystery. The suspense, the humor, the direction, the music, gorgeous Grace Kelly, James Stewart…
The year of 1954 saw director Alfred Hitchcock in sublime form as he delivered not one but two back-to-back masterpieces of its genre & cemented his status as the greatest filmmaker of thrillers & suspense. While one of the two was Dial M for Murder which even today remains one of his most enjoyable & entertaining works, the other is Rear Window which many consider to be one of the greatest films ever made.
Rear Window perfectly demonstrates the impulse of morbid curiosity and tells the story of a wheelchair bound photographer who, while confined in his apartment, spends his recovery time by spying on his neighbours through the rear window. Things are set in motion when he becomes obsessed with a particular…
A few days ago I had a discussion with a friend about cinema and he told me about his love for classic movies, like this one, and how movies from the 50s, by example, were often movies with a very simple plot but executed in such an artistic and flawless way that they became classics, and that's what I felt all the time watching this movie. The idea of a guy spending his time in the window because of his injury is incredible simple, but offers many possibilities, explored with maestry by Hitchcock, in a way that I can feel nothing less than pure admiration for his work. Actually, at some point I felt like watching a movie that defines…
Intelligence. Nothing has caused the human race so much trouble as intelligence.
A perfect film if ever there was one. I feel like I might proclaim that every time I watch a film by Alfred Hitchcock, but in truth I don't think all his films are perfect. He's just made so many that are or near perfect that it seems like I say that all the time. I have however seen Rear Window enough times that I have no doubts about it being a masterpiece from the master.
This film has been unofficially remade several times in film and television but has never come close to the original. Hitchcock often called the Master of Suspense, was also the master…
Contrary to popular belief, Rear Window is not a perfect film. It's a film, after all, that has James Stewart seriously considering breaking up with Grace Kelly because she's too perfect for him.
I do wonder if LB Jefferies was an inspiration to Jerry Seinfeld and Larry David when they wrote Seinfeld, what with all the disastrous dates and relationships that were broken up in that series over the most mystifying of reasons. I wouldn't be surprised to find out this was the case. But Rear Window is one of those films whose influence has not just been confined to thrillers, mysteries and even 'one location' films -…
I took another look at it today and its craftsmanship and perfection dazzled me again.
A wheelchair-bound photographer uses binoculars (and a telephoto lens) to spy on neighbors in adjoining apartments, and stumbles on what may or may not be a gruesome murder. What is essentially a sleight-of-hand involving point-of-view camerawork and sly editing becomes, in the hands of the Master, a classic, one-of-a-kind thriller. Cynical Stewart is just right in this unflinching look at voyeurism, with Kelly ravishing as his socialite Girl Friday, and Ritter a hoot as an insurance-company nurse. Absolutely delicious, and all the more tasty for forcing the audience to sympathize with the voyeur and the murderer!
"We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes sir. How's that for a bit of homespun philosophy?"
Rear Window is such an excellent film. It works well on multiple levels--as a slow-boiling thriller and as a psychological study of the dangers (and pleasures) of voyeurism. Jimmy Stewart and Grace Kelly are wonderful (of course), but it is Thelma Ritter as Stewart's nurse that really steals the show. This is by far, my personal favorite of Hitchcock's films (or at least of the films that I've seen).
- not my favorite Hitchcock though I've seen it more than any other, including three viewings (including Wednesday's) in theaters.
- L.B. Jeffries as "father"; Thorwald's POV with the flashes at the end; Liza Fremont as the woman ignored in favor of voyeuristic subjects;
- extensive depth of field
- the dog's death leads to inexplicable close-ups with the neighbors: Torso, Miss Lonelyhearts, the dog's owner.
- though sexuality is lurking around in nearly every scene, Jeffries appears to be more prudish than the others, even disapproving of others' flesh-y implications or weaknesses. he chides others for invading the private scenes among his neighbors. however, Bedillion believes: "I do think it's common to view Jeffries as a voyeur in a…
The second HItchcock film I ever saw, and possibly my favorite. Even after having seen it multiple times, I feel the tension of Grace Kelly going into Raymond Burr's apartment and feeling just as powerless as Jimmy Stewart. It is one of those movies that is best experienced in a theater with lots of other people.
This movie was meant to be seen on the big screen with an audience. It's so fun to hear people gasp at the same time when something is about to happen. It's wonderful to see the awesome cinematography on the big screen that you don't notice just on your normal TV. And it's always nice to see how beautiful Grace Kelly is. Holy Crap she was an attractive human being.
Worth Watching? Definitely.
Story: Wheelchair bound photographer watches his neighbors from his window and suspects one of murder.
One Good Thing:
‘High Angle Tension’
What genre is Rear Window? Thriller, right? Definitely. Most definitely. It’s a Hitchcock film. Has to be a thriller!
I would bet anyone watching Rear Window spends more time laughing than being on the edge of their seat. The reason why people remember and classify it as a thriller is because the ending is so strong and cinematic, it trumps the rest of the movie. I’ve always said (and will continue to say) comedy is the secret weapon of horror.
There’s a lot of funny bits in Rear Window. Most are on purpose. Some…
Single setting stories take a lot to move an audience enough to stay with it. And a Hitchcock mystery is a good place to start. Jimmy Stewart plays LBJ, a temporary invalid who is recuperating at home and staring out his apartment’s rear window for entertainment. (He doesn't have a tv?) Day in, day out and he’s seven weeks in, so he’s getting a little stir crazy.
Hitchcock does a great job of presenting the claustrophobic nature of the setting. Even though we all get glimpses of the neighboring apartments and the people inside, we never leave Jeff’s apartment. We see the action through open windows like he does. We guess at their conversations as we read their lips. We…