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Rear Window
Crime, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
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
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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First of all its just my opinion maybe you can love this movie maybe hate like me.

movie was very boring like there is nothing move so linear and you can predict what happens next who is killer ? who is gonna die? i should stop watch at 30-45 min but i said ' man this is Alfred Hitchcock right ? movie has very high rank at IMDb i'm sure ending gonna be awesome' but ending was boring as rest of movie.

i really don't understand what people see this movie and liked it too much rear window offers you nothing. A weird guy stalks people. important part is i think this movie create cliché 'stalking cliché' but for me just waste of 2 hours.
Classy, gentle excitement with nice subtexts within the enjoyably tense main story
Jeff Jeffries is an adventure photographer for a major newspaper who, thanks to an attempt to get an action shot during a motor race, has found himself in a plaster cast spending his days and nights in a wheelchair. His only visitors are his carer Stella and his beautiful, but pressurising girlfriend Lisa and the majority of his time is spend staring out the window into the courtyard area of his apartment complex. It is during one typically hot night that he spots something funny going on inside one of the apartments opposite his – the woman of the house seems to be gone and the man is acting suspiciously; from the confines of his chair, Jeff keeps watch, with the case becoming increasingly clear to him and his friends.

Despite having themes in common with many Hitchcock films, this stands out as being one of a couple of his movies that are accessible and entertaining to a wider audience. Using voyeurism as its central theme, the film takes us into a fairly straightforward mystery that is well told but also laced with subtexts and other windows to stare through. To me this makes it a better film because there is much that intrigued me about the characters and the neighbourhood while also providing me with an engaging mystery. Modern audiences who have seen this film copied and referenced countless times will doubtless struggle to see what the fuss is about and perhaps they are right as the story doesn't have the twists and turns that are considered the norm now in a lot of thrillers; but it is still strong enough to keep the interest. The voyeuristic nature of the characters is interesting – with them changing throughout the film; meanwhile the many lives on display in the other flats provide other things to be interested in as well.

Of course a massive part of it working is the cast. Stewart plays his usual "aw-shucks" personae to good effect but crosses it with a certain lack of ethnics and a less than wholesome character who spends his nights with a young girl who he doesn't want to commit to and an unhealthy habit of staring at his neighbours. Kelly is sexually innocent and seductive with it – unlike Hitchcock I tend to find blonde princesses all a bit dull and obvious but she worked here. Stealing most of her scenes is sterling support from Thelma Ritter, not that different a performance from some of her others but still very well timed and blessed with some really great lines. Burr is rather stiff but at a distance it doesn't really matter and he does well enough. The various other neighbours each works well with their mini-stories that barely exist within the film but do add to the layered effect of the film.

Overall the film is classy and the rich colours and ordinary setting are nicely in contrast with the action of all the main characters. The mystery is well delivered and engages in a gently dramatic fashion while the starry cast are impressive and interesting throughout. For my money not as pound-for-pound entertaining as North by Northwest but still one of Hitchcock's more widely accessible films if not quite one of his best.
Maybe in the 1950s?
I'm a big Hitchcock fan and hadn't seen Rear Window since I was a child, so I was surprised when I sat down again recently to watch it and found the movie to be quite bad. Obviously this is one of Hitchcock's most famous movies and is considered a classic, but on re-examination one wonders if aside from the novelty of the concept of the film and it's reputation if it is really a very good movie after all.

I won't go into the details of the plot too much, because it is unlikely you are reading reviews of this famous movie to find out what it is about. And if you are then there are hundreds of other reviews here that already give a rough outline of the plot. The core concept in Rear Window of having a story that plays out from events witnessed while looking in the neighbors' windows in a building across a courtyard or alleyway from one's own apartment is a great concept and that is really the best thing about this film. The sound and music are also quite good, especially impressive is the way we get just snippets of (often ambiguous) sound drifting in from the apartments across the way as we see what is happening inside them.

Anyway, aside from the novel concept and some of the nice technical aspects of the film making, what are the problems with this movie? First of all, there is not really any reason to be suspicious about the murderer. Jimmy Stewart is convinced that the man murdered his wife, but he doesn't have any reason to believe anything like that happened and neither do we the audience. And this is true well over an hour into the movie, so it is just boring. Then in the end his theory turns out to have been magically true... so what? It was still boring, and all that happened was it stopped making sense when the man turned out to have murdered his wife even though there was no evidence or reason for any suspicion whatsoever that he had done so.

One thing that doesn't help the movie is that Jimmy Stewart was extremely poorly cast. He is about ten years too old for the relationship with Grace Kelly to play out the way it should, and he hardly fits the bill of a globe trotting adventure photographer. I love Jimmy Stewart, but this role needed an actor who was younger and less pedestrian in personality.

Well, those two things pretty much ruin the movie. The plot is implausible at best and having an implausible lead actor doesn't make it any better. Perhaps in the 1950s audiences were naive enough to get in on the idea of 'suspicion' about this man who murdered his wife, but when you look at the movie today he is just a man living his life there is no reason to believe he did anything wrong at all and that ruins the suspense of the movie and makes it pretty strange to watch for the first eighty or ninety minutes. The characters don't make any sense, because you can't understand why they are buying into this idea that the guy 'over there' murdered his wife when there is literally no reason whatsoever to have any suspicion (that they know of or that we the audience know of) until the movie is already almost over. Personally, as a viewer, I could not get into a 'suspension of disbelief' for this plot and that made the viewing extremely tedious.

Like I said, I love Hitchcock and had considered this to be a classic movie from what I remembered when I saw it as a child, but it hasn't aged well.
Classic Hitchcock from a unique perspective
With the acting talent of two of Alfred Hitchcock's favourite actors, Jimmy Stewart and Grace Kelly, and a strong supporting cast of Thelma Ritter, Wendell Corey, and Raymond Burr, we have the ingredients of a great movie. However, this movie is much more than the sum of its stars since the directing genius of Hitchcock is more than evident in this film, which is in the top tier of his work. The movie takes place on a small set; in fact, the action takes place in a bachelor apartment with cutaways to other apartments on the opposite side of a courtyard. The location is in a downtown neighbourhood of Manhattan.

The viewer sees much of the action through the telephoto lens of Jimmy Stewart (known as Jeff to his friends), who is a photographer sidelined by an accident. He takes to watching the antics of his neighbours in his spare time. The comic and the sad come together as the camera pans from one apartment to another. The neighbour he is mainly interested in is the apartment of one Lars Thorwald, played by Raymond Burr, who Jeff believes has killed his wife. Thorwald thinks he is acting without the knowledge of anyone but in fact, there is an intruder looking on from the other side of the courtyard, through his rear window.

Raymond Burr gives a convincing portrayal of the sinister Mr. Thorwald – a far cry from the suave, courtly lawyer known on T.V. as Perry Mason. Grace Kelly, as Lisa Carol Freemont, enhances the look of this movie every time she walks on the set. In every scene, she appears like a model from the 1950's. I didn't count the number of costume changes she made but they must have been numerous and she made the most of each one. She is a class act every time she appears and plays the role of the uptown Manhattan girl to a tee. The close-ups of her are eye candy of the first order. In fact, Jimmy Stewart hesitates to marry her because as he says, "she's too perfect". Thelma Ritter (Stella) as the housebound photographer's nurse/masseuse/housekeeper is an absolute marvel with her quick repartee and New York twang to give it that extra zing. During her career, she was nominated for several Academy Awards and is a rich talent. Stella is almost a surrogate mother to Jimmy Stewart, playing the devil's advocate and giving her own two cents'worth on the love match between Lisa and Jeff, particularly Jeff's reluctance to wed.

The plot moves toward the climax when Thorwald realizes he is being stalked and after Jeff finally enlists the support of his buddy Det. Doyle (Wendell Corey). The voyeur's interest in his neighbours leads to some skilled speculation by Jeff that could at any point have been blown away by a logical explanation, as Doyle was suggesting. But the evidence kept mounting and became more and more difficult to ignore.

Some hands-on detective work by Lisa and Stella moves the story towards its climax. This classic movie will hold your interest from its amusing start to goose-bump finish. Along the way, there is a fine script and lots of wit.
One of the greatest Hitchcock films, but not his best
While Psycho is still my favorite Hitchcock film, this comes very, very close to that. Having only seen the made-for-TV remake starring Christopher Reeves, I was quite excited to see this, as it's referred to by many as one of the(if not the) greatest Hitchcock thriller. Now, while I still prefer Psycho over this, I must say that it's a very well-done and effective mystery-thriller, and most of the second half had me almost biting my nails from suspense. The plot is very good, and its theme appeals to some of the most base instincts, including the tiny little voyeur that we all have. The pace is great, I was never bored during any point of the movie. The acting is great, Stewart and Kelly give excellent performances. The characters are all well-written, credible, and, as they almost always are under Hitchcock's direction; very human. The cinematography is excellent; most of the camera angles are from inside the main character's apartment, which creates a very effective and scary feeling of claustrophobia and adds to the suspense. The mystery keeps you guessing throughout the movie, but the ending seemed a little like a letdown... there's no definite answer to the mystery. Then again, maybe that was Hitchcock's intention... to any true mystery, there is no real answer. And Hitchcock probably wanted to have each viewer make up an answer for him- or herself. The film has some great suspense, and a few of the scenes will have you sitting at the edge of your seat. The ending was very close to being anticlimactic, but it managed to make up for it by having one of the most thrilling and nail-biting endings in a Hitchcock film ever. The main reason I rate Psycho higher than this on a personal scale is that the theme works better there... the killer is more easily understandable, while here he's just... well, sloppy and arrogant, half of the time. That was my one complaint while watching the movie, and it won't bring down my rating, not even a notch, because I'm positive it was the way Hitchcock intended it to be. His characters are always human, and what is more human than failing? I recommend this film to any fan of thriller, mystery and/or Hitchcock. You won't be disappointed. Great film. 10/10
Jeff be peeping while you sleeping
From cinemas leading auteur, Alfred Hitchcock comes the story of L.B. Jefferies, a photography who has been bound to a wheelchair after getting in the middle of a race car crash and now spends his days spying on the neighbours. One day the curious Jefferies begins to notice something isn't quite right with his neighbours the Thorwarld's and thus begins an investigation in search of the truth. It's a classic Hitchcock suspense thriller that plays on the themes of paranoia and voyeurism ans not only deals with issues behind other peoples closed doors but also talks of the voyeurism associated with cinema going.

The film keeps you guessing as the suspected crime remains just that, suspected. What unravels is an ambiguous psychological mystery for the most part as we are lead to question whether a crime has actually been committed or is Jefferies simply fixating on little things and trying to make his own narrative from them. As I previously stated if we step back and point the finger at ourselves and see what Hitchcock is saying about us, the viewer and our attempts to piece together the plots of peoples lives be it in real life or magnified on a cinema screen.

The film, like Jefferies, not only fixates on the the Thornwald's but also shows follows the lives of the other, rather eccentric neighbours, such as the fire escape couple and Miss Lonely hearts and the songwriter. These stories are intriguing as they seem to remain rather realistic as in little transpires in their lives over the course of the film with a few exceptions, but somehow you find yourself intrigued by their lives despite of the seemingly eventfulness of their home lives. This again speaks to the voyeurs in the audience, which it appears I am one of.

Overall, Rear Window is a contained film (pun intended) that conveys an intriguing message about voyeurism and cinema going. It's interesting to see as one of Hitchcock's essentials as that in itself could begin a debate of whether that is accurate but I think I'll just leave it here.
A Time Capsule
Hitchock's smart review on voyeurism and human composed need for entertainment is fantastically stamped within "Rear Window". Those who see just a suspense story will overlook the most important backbone of the movie itself: the arrangement of a fauna of great, interesting human beings, each with their problems, happiness and something to scoop on.

The story quickly digests important views where a man with his broken leg gets no other option than to spend time watching and examining his neighbors' life. Before Television arrived, this endearing inspection like Big Brother brings the fantastic nexus that ties up the story. But there will be a transformation where the watching will transform into an obsession, and the most inner feelings of connection with the other will be arisen by what we call voyeurism, or morbidness. We will unite sober James Stewart in his progressive burial over the neighborhood's secrets.

There is in the movie one crucial analogy: the eyes watching the window. The eyes are subjective, and see what the mind wants to see. Curiously, eyes are the so called windows of the souls. Whereas the window exposes the reality, the fact to be interpreted (in many ways): here ambiguity strikes and in Jeffries situation it will present itself in the mood of paranoia. All of this scrutinizing over the others life is presented as unethical, but irresistible. Hitchcock uses Franz Waxman's moody music to alter the spectator's disposition to each scene, that lightens throughout the chilling sessions and paralyzes within the climax moments. There is a sense of fear, of being also observed and panicking of being discovered while enjoying the watch. The story seems possible and everyday, presented in a superb way, it will be more effective than what you expect it so. The photography is immense, roaming delicately over the used setting profiting on the smooth editing. We also can expect the most sophisticated and somewhat naive sense of humor to lighten the sordid tension of the movie.

"Rear Window" lives clearly up to the reputation. It is a movie to be examined closely and enjoyed with a good glass of freezing cold water to set the mood right. I believe the movie is somewhat of a time capsule, a very good one indeed, because it has gone over more than fifty years since released, and its a beautiful way of being entertained as it paints a wonderful picture of the era: the way they talked, they dressed, they spent their time. Time cannot falter pieces of art as this one. It renders past oblivion.
Outdated. Absurd at times.
Alfred Hitchcock was the king of suspense. But fact is, the excitement and thrill which his movies used to produce back then in the time when entertainment was minimal and unexplored doesn't even live to up half of its original now. The methods to decipher and go through a case looks pale now.

Rear window is a creative outlook in movie making. But there ain't anything special about the rest. It's heroics of a jobless injured protagonist causing a break through. May be a hard to miss movie, if the purpose is to build a list of classics watched.

The ratings are too generous. The movie is dry and goes into the obvious. Boring.
Voyeurism, Suspicion & Murder
There can't have been many filmmakers who would have been excited by the prospect of making a movie about an immobile man who spends 99% of his story inside a single room where he's unable to see any further than the boundaries of his own small apartment complex. In the hands of Alfred Hitchcock however, the character's confinement is skilfully used to rationalise his unhealthy preoccupation with spying on his neighbours and to generate the kind of tension that's such an important component of this gripping murder mystery. Suspicion, voyeurism and obsession feature strongly and the presence of a cool blonde, a romantic subplot and some offbeat humour all add to the entertainment value of this fine movie which eventually became recognised as an all-time classic.

L.B. "Jeff" Jeffries (James Stewart) is a top-class photojournalist who's been used to travelling extensively to get the great photographs that adorn the pages of his employer's magazine. When he suffers a broken leg as a result of an accident at a motor-racing track and becomes confined to a wheelchair in his modest Greenwich Village apartment, he soon becomes frustrated and very irritable. To relieve his boredom, he starts to gaze out of his window and watch what's going on in the other apartments that face his. Because New York is in the middle of a heatwave, his neighbours have their blinds up to keep cool and so there's plenty to watch. An attractive ballerina who he calls Miss Torso (Georgine Darcy) rehearses regularly and enjoys the attention of a collection of male admirers, whilst in another apartment close-by; a single lady, who Jeff calls Miss Lonely Hearts (Judith Evelyn) prepares a meal and entertains an imaginary boyfriend.

Stella (Thelma Ritter), the insurance company nurse who calls by to attend to him everyday doesn't approve of Jeff's pastime and advises that he should pay more attention to his girlfriend Lisa (Grace Kelly) instead. Lisa's a fashion model and dress designer who's rich, beautiful and as Jeff readily admits, perfect in every way, but he's rather cool with her because he has doubts about their compatibility as they have such different lifestyles.

Jeff starts to take a particular interest in what's going on in the apartment of a jewellery salesman and when he notices that the man's invalid wife has disappeared, becomes convinced that she must've been murdered. Lisa and Stella are sceptical about his suspicions and even his old Army buddy Tom Doyle (Wendell Corey) who's now a NYPD detective, admits to sharing their scepticism after making his own unofficial investigations. As time passes, Lisa and Stella start to take his suspicions more seriously and eventually team up with him to try to find the evidence they need to prove that the missing woman has indeed been murdered.

In common with most Hitchcock movies, "Rear Window" boasts some great visual moments. Grace Kelly's introduction in a scene where she's initially seen leaning over Jeff is sensational and a short sequence in which the roaming camera focuses on a number of objects and photos in Jeff's apartment is exquisite in the way that it silently imparts so much information about him in such a short time. Hitchcock's skill in making, even the most mundane things seem sinister, is wonderfully displayed in a scene where the suspected murderer sits in his apartment in the dark with only the periodic glow of his cigarette providing a clue to his presence and again in a scene where the same man realises who's watching him. The gaze he directs back at Jeff is absolutely chilling because it suddenly turns the tables on the voyeur and carries the implicit threat that he could be the next invalid to be murdered.

The theme of confinement is also reinforced visually by the ways in which the lives of the neighbours seem to be framed by their windows, just as Jeff's outlook is framed by his own window and the apartment complex is itself, a closed-in entity.

The quality of the acting is consistently good with James Stewart, Grace Kelly and Thelma Ritter all standing out and the dialogue is exceptional because, although it's far from punchy, there doesn't seem to be a superfluous word in it. Thelma Ritter is the beneficiary of more good lines than anyone else because her marvellous character, whose nose for trouble is so well-developed that she predicted the Wall Street Crash, is full of no-nonsense advice that she dispenses very generously.
"Rear Window" describes Hitchcock at his best...
"Rear Window" comes very close to be the perfect Hitchcock film that illustrates nearly all his great abilities...

Hitchcock demonstrates in "Rear Window" that he is a great voyeur, that he loves to spy on his characters making each viewer into a voyeur, forcing audience to see everything from his hero's point of view... James Stewart is hold up in his Manhattan two rooms apartment with a broken leg... He passes his time spying on his neighbors through back window in an orgy of voyeurism...

Speaking of technical challenge, "Rear Window" is Hitchcock prototype... Most of the film is shot from one confined set... It is also notably theatrical since it takes place in one room...

Hitchcock forces limitations on himself, as he did in "Lifeboat" when he shot entirely on a restricted set, in only one boat... And in "Rope" (his first Technicolor film) where the single setting for the production had only walls and furniture...

Having restricted his movements, Hitchcock is demanded to be ingenious in order to keep curiosity alive... He builds a realistic courtyard of apartments with inhabitants in it, and the restriction becomes a potency and the technique a fascinating example of what he chooses to call "pure cinema."

Hitchcock's camera tracks out through the windows... It never goes inside the apartments... We never see close-ups of the characters... We can only see what Stewart sees... We feel like we are watching people through a window instead of in a movie...

Hitchcock doesn't use any kind of music... We hear natural sounds, occasional live music played in the surrounding apartment...

"Rear Window" describes Hitchcock at his best for the way it works on several levels, yet hides its own complexity... Stewart, tied in too by pressure from his high society girl who loves him and wants to marry him... Everything he sees out is related to this problem... He avoids to discuss marriage with her, though he himself does not seem to realize it...

All the while, the people in the 31 apartments that he can see live out their little lives… The tormented middle-aged bachelor, composer/songwriter; the couple who beats the heat by sleeping on a fire escape; the newlyweds and lovers; the tragic "Miss Lonelyhearts" and her fantasies of entertaining gentlemen callers; the hearing-impaired sculptor working day and night; the vivacious and sexy blonde dancer "Miss Torso" who does suggestive routines in bikini tops and, most important, the hysterical "nagging wife" - lying in bed - and her grouchy fed-up husband, a jewelry salesman...

One 'great shot' reveals just how involved Stewart has become in their lives when Miss Lovelyheart - in her romantic dinner for two - raises her glass in a toast to her imaginary lover and Stewart raises his glass as well...

The urban backyard setting is the night city terrain of "Rear Window," a night city shattered by the sharp sound of a loud female scream and the sound of breaking glass...

Hitchcok presents Stewart who sees (or think he sees) what he is powerless to stop... The insidious salesman strangely attracts Stewart's attention... His Passtime becomes an obsession after he suspects that he has murdered his ailing wife and specially when he notices that she is missing... His ravishing fiancée (Grace Kelly) and his nurse (Thelma Ritter) warn him that voyeurism is a crime and is dangerous... But Stewart persists, eventually he was turned on ... This explain perfectly his specific use of a huge zoom lens to do his peeping as he monitors the murderer's activities... The murderer and his wife became subject of Stewart's parody with the "too perfect, too talented, too sophisticated," Grace Kelly...

"Rear Window" is visually very strong... Hitchcock designs the film in such a way so that his view is our view... He manipulates our emotions because he knows perfectly his work... He has the film synchronized in his mind... Shooting and editing are, for him, a simple mechanical phase... The creativity has all taken place before...

The first shot of "Rear Window" is a perfect example of this reality - as his many typical first shots - for the way it visually transmits the whole complex to the audience...

Hitchcock is a master at using his camera to create suspense... Like Stewart, we are restricted in movements, paralyzed inside the apartment, immobile, trapped in a room where we are anxious and uncertain... There is no way we can warn the outcome... This is what 'suspense' is all about—not surprise... An effect of intense and prolonged expectancy, lacking all help in the state of knowing that we possess but the characters do not... And, of course, all this great suspense is created by only 'visual' means...

Stewart gives the performance of his life behaving at ease... He was the perfect Hitchcock character: a voyeur by profession, an unpretentious photo journalist who becomes caught in a terrifying event...

When you see the film, feel the menacing 'look' of the murderer staring those evil eyes at you... And don't forget to catch Alfred Hitchcok in his customary cameo appearance, this time repairing a clock... Enjoy!
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