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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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Rear Window is an all-time movie classic!
What can I say?I LOVE this movie!Hitchcock was,of course,the master of suspense!I love the fact that each time I watch this movie(and I'e seen it many,many times over the years!)it still grabs me by the collar and never lets go right up until the very end of the movie!Jimmy Stewart was perfectly cast as L.B.Jeffries,an all-Amercian type of guy.And Grace Kelly,WOW!She is every man's fancy!Other roles in the movie made for a perfect ensemble.Raymond Burr as the killer scared the hell out of me(and still does!)And atmosphere;although I'e read that Hitchcock filmed this whole movie on a sound stage in Hollywood at Paramount Studios and not Greenwich Village in New York,you are drawn in to the characters that Stewart is watching while nursing his broken leg.Of course,at the very end of the movie,when Raymond Burr gets into a fight with Jimmy Stewart and Stewart falls to the ground,we see in the final scene that Jimmy broke his other Leg as well.Of course,in real life,the way the poor man fell,he probably WOULD'VE BROKEN HIS BACK,as well!But,we can forgive that,too,as Hollywood has always played fast & loose with the facts.I'e seen this movie on the big screen a couple of times,you should,too!The color(now that the movie has been restored)is superb!
Tepid stuff indeed.
I'm glad to see I'm not the only person who thought this movie was a stinker. How Hitchcock maintained his title of "master of suspense" after making this is beyond my comprehension. There is NO suspense in the movie. Jeffries suspects his neighbor is a killer, and, golly-gee-willikers, his neighbor IS a killer. Wow, what a twist. I haven't been so underwhelmed since I saw "The Burbs" (which is a far better movie and much more entertaining), and "Disturbia" at least delivers some true action.

"Rear Window" is so tepid you wonder if audiences of 1954 did not have a pulse. If they found this suspenseful, they must have been hypnotized.

Aside from the boring, uneventful plot, there are other serious issues with this movie. Stewart's relationship with Grace Kelly is totally unbelievable. He is 20 years older than she is. He should be flirting with someone his own age – namely Thelma Ritter who was about the same age as he. But Hollywood – even today – is always pairing old dudes with young women, as if that happens every day in real life. (Grace seems to have made a career of slobbering on old men – Gary Cooper, Bing Crosby, etc. What did people see in her anyhow?)

If Stewart really is a rough-and-tumble photojournalist, you'd think he'd have a better physique. His nude chest is embarrassing to look at – the only thing more embarrassing is when he locks lips with Grace Kelly.

One also wonders if Stewart's character was an idiot. He can't occupy himself any other way than spying on his neighbors? He doesn't know how to read? He doesn't have a TV? He can't listen to the radio? He IS in a wheelchair; I thought the reason for a wheelchair was so the person could be mobile; he is not bedridden.

This movie might have had some success if it had been shot in black-and-white. Then there could have been a "noir" thing going. But there is so much talk, talk, and more talk that I doubt even that could save it.

Critics have also made a big deal of the "voyeurism" theme of this film, as if that is truly shocking somehow. Again, maybe that was a big deal in 1954, but in our day and age it is just yet another tired example of motion picture psychobabble.

I admire Jimmy Stewart in Westerns – he was generally good in them. But every movie he made for Hitchock was embarrassing (yes, I include that turkey "Vertigo" in the group); while this one is not quite as bad as "The Man Who Knew Too Much" it comes close. I hope I never have to sit through this again as long as I live!
8.7?? Are You Kidding Me?
Really?? 8.7? I don't know what everybody else watched but I saw "Rear Window" for the first time recently and came away completely disappointed. I like Hitchcock, Jimmy Stewart, and Grace Kelly so I'm certainly not predisposed to dislike any of their movies.

Exactly where was the mystery?? There were no twists, no turns, no shockers, and no surprises at all in this movie. The plot was so utterly simplistic that I thought for sure one of the other main characters was going to be involved and would be revealed in the last 10 minutes of the film. Nope. Nothing. I couldn't believe it when the movie ended. My reaction was "You've got to be kidding me!"

And this movie has repeatedly been called one of the greatest ever?? Give me a break. Go watch "Rope" or "Dial M for Murder" instead.
Too much build-up, not enough payout
Honestly, I think this film is overrated. I felt that a lot of the film was just tension-building to a climax that never really arrived. The tension-building itself was very effective, but I was disappointed that it never amounted to anything. In fact I did get a little bored at times.

Don't get me wrong, I don't think Rear Window was terrible, just overrated. I liked the small cast and small set, which I found really helped to convey the claustrophobia that Jeffries is feeling. It also did well in building the tension.

Read my full review here: http://goo.gl/6xbZO7
Our Obsession with Voyeurism
After viewing 'Rear Window' again, I've come to realize that Alfred Hitchcock was not only a great moviemaker but also a great moviewatcher. In the making of 'Rear Window,' he knew exactly what it is about movies that makes them so captivating. It is the illusion of voyeurism that holds our attention just as it held Hitchcock's. The ability to see without being seen has a spellbinding effect. Why else is it so uncommon to have characters in movies look directly into the camera? It just isn't as fun to watch someone when they know you're there. When we watch movies, we are participating in looking into another world and seeing the images of which we have no right to see and listening to the conversations that we should not hear. 'Rear Window' and Powell's 'Peeping Tom' are some of the best movies that aren't afraid to admit this human trait. We are all voyeurs.

When watching 'Rear Window,' it is better to imagine Alfred Hitchcock sitting in that wheelchair rather than Jimmy Stewart. When the camera is using longshots to watch the neighborhood, it is really Hitchcock watching, not Stewart. Hitchcock's love of voyeurism is at the center of this movie, along with his fascination with crime and his adoration of the Madonna ideal.

In many of Hitchcock's movies, 'Rear Window,' 'Vertigo,' 'Psycho,' 'The Birds,' etc, the blonde actresses are objects. Notice how rarely they get close with the male leads. In 'Vertigo,' Stewart's character falls in love with the image of Madeleine; in 'Psycho,' we see the voyeur in Hitchcock peeking out of Norman Bates at Marion; and in 'Rear Window,' Jeff would rather stare out of his window than to hold the beautiful Lisa by his side. For Hitchcock, these women are ideals that should be admired rather than touched.

However, the story of 'Rear Window' isn't about the image of women, as it is in 'Vertigo.' 'Rear Window' focuses more on seduction of crime, not in committing it but in the act of discovering it. At one point in the story, Jeff's friend convinces him that there was no murder, and Jeff is disappointed, not because someone wasn't dead but because he could no longer indulge into his fantasy that someone was. Think how popular crime shows are on television, and noir films at the movies. People do not want to commit crimes; they want to see other people commit them.

'Rear Window' is one of the most retrospective movies I've ever seen. In a span of two hours, it examines some of the most recurrent themes in film. When we watch 'Rear Window,' it is really us watching someone watch someone else. And all the while, Hitchcock is sitting on the balcony and seeing our reaction. It is an act of voyeurism layered on top of itself, and it allows us to examine our own behavior as we are spellbound in Hitchcock's world. The only thing that I feel is missing in the movie is a scene of Jeff using his binoculars and seeing himself in a mirror. Why did Hitchcock leave it out? Maybe because it would have been too obvious what he was doing. Or maybe he was afraid that the audience would see themselves in the reflection of the lens.
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.
now i know why Alfred Hitchcock is a legend....
after watching this movie.... i really have to admit that Alfred Hitchcock is a legend... this movie does proves he is a master of suspense till now... no one can ever challenges the greatness of Alfred Hitchcock!

why?? watch this movie,and you will know... there is a remake for this movie...which the star was performed by Christoper reeves...which does not work very well compared to this original masterpiece..Alfred has chosen a perfect actor to become the star of this movie,which is none other than James Stewart.. he and the princess of Monaco (grace Kelly) have played excellently in this movie... the story contains enough suspense for audiences!

at first,before watching this movie..i really thought that this will be a slow paced and boring movie....juz like titanic,Cleopatra, Barry Lyndon, my fair lady and etc...(it doesn't mean that those movie are bad..but instead great,except for titanic)..but after watching it...i was surprised to see the power of the movie!! the story is quiet different compared to other movie!!!! only a master like Alfred Hitchcock can direct a movie like this!!!!

i have to give this movie 10/10*** this movie is perfect, and watchable for everyone... no pornography or sex scenes...and full of suspense...

listen to my advice... a great movie won't need a sex scene..... and here Alfred Hitchcock has proved it in this movie!! the remake contain sex scenes...but not great enough!! another movie is psycho (1960)from Alfred Hitchcock... no sex scenes...but truly one of the greatest horror psychotic movie!! even silence of the lambs and seven are not as good as this movie! the sequel to psycho is psycho 2 and psycho 3...i haven't watch psycho 2...but psycho 3 contains a lot of porn...not even great movie after all...just watchable...

this is what i'm trying to say... if you found a movie from Alfred Hitchcock,watch it!! no matter whether it is expensive or not...buy it!!! because you won't regret!!!!!

Rear Window
My years-long quest to see everything Alfred Hitchcock has ever made finally lead me, albeit far too late, to Rear Window. Hitchcock's 1954 feature starring Jimmy Stewart and Grace Kelly has been revered and countlessly referenced in the 62 years since its release. The film in which a wheelchair bound photographer with nothing better to do than look out the window of his New York apartment at his various neighbors becomes convinced that one of them has committed a murder. Bringing together a brilliant display of the various lives that make up a neighborhood and how each human effects the other, Rear Window was a long overdue treat.

After injuring himself on a photo shoot, L.B. "Jeff" Jeffries (Jimmy Stewart) is wheelchair-bound with a broken leg. Since Jeff is single, for the most part abhorring the idea of marriage, the only interaction he enjoys throughout his long days are the visits of his caretaker, an occasional guest, and his girlfriend Lisa Carol Fremont (Grace Kelly). In order to help the time pass as he recovers, Jeff has taken a liking to watching his neighbors from his large apartment window. Living varied lives, each with their own schedules and idiosyncrasies, Jeff becomes entranced learning more about their lives behind his binoculars. Among his watching, Jeff notices a traveling salesman with a bed-ridden wife at home. He watches him take care of his wife and begins to learn his schedule. One day, Jeff notices that salesman's wife has disappeared and his schedule has drastically changed. The collection of oddities has Jeff convinced that his neighbor has killed his wife. Jeff is so convinced that he shares this belief with his girlfriend and caretaker, who initially dismiss him, then go on to help him. With no proof, the threesome hatches a plan to implicate the neighbor with murder by entering his apartment, even if it costs them their lives.

Now I understand why I like the film Disturbia so much. I saw the 2007 version of Rear Window first, and was stunned that I liked it so much, being as I am no fan of Shia LaBeouf's; after seeing Rear Window, however, I can appreciate my liking of Disturbia more as it is basically a remake of the Hitchcock classic. I was initially disappointed to see that Rear Window was a color film, for some reason I thought I remembered that it was in black and white, but I got over it quickly when I first saw Jimmy Stewart; really, is he in anything that's not completely splendid? I really enjoy watching films by British directors, as I love the emphasis on dialogue within the films. Rear Window, had a wonderful emphasis on dialogue and the three principles delivered the lines quite well. There was a great deal of fun effects throughout this film, including the fun way Hitch filmed through the lenses of Jeff's camera and binoculars. Rear Window is a fantastic example of a distinction Hitch himself was sure to make; he made suspense pictures, not mysteries. It really doesn't matter to the film whether or not the man actually killed his wife, what is paramount, however, is the quest endured by the actors to find out whether or not Jeff's neighbor is a murderer. Another gripping suspense from the ultimate master in the genre, it is easy to see why Rear Window is the classic it has become.
"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!
Hitchcock's tale of voyeurism !!!!
A photographer named L.B. Jefferies has broken his leg. With nothing to do throughout the day, he starts observing his neighbours from his window which leads him to grow more and more suspicious about one particular neighbour's behaviour which leads to extremely suspenseful consequences.

Clearly Hitchcock's theme for this film is voyeurism. We all have at least once watched someone from the window secretively. The thrill of observing people who are completely unaware of our peeping has always fascinated us. This very concept of intrusion of privacy has been the primary reason behind the success of the innumerable reality shows which have become so popular nowadays. The current scenario with reality shows makes Rear Window seem profound. The neighbourhood which is being observed by Jefferies is a representation of the whole society. There is the poor couple who struggle to get by,there is the rich lady who is tortured by her loneliness, there is the young ballet dancer who is trying to make her presence felt in the social scene, the musician who is desperate to achieve success with his talent, the old bickering couple and the young newlyweds.

James Stewart has a commanding presence as Jefferies. Everyone knows about Grace Kelly's looks, but what is great about this film is that Kelly is not there just to look beautiful. She is actually the one who does all the physical thrilling dirty work while Stewart remains attached to his wheel chair.

The screenplay by John Michael Hayes is absolutely brilliant. The whole story gets told from the point of view of Jefferies. This is a rare suspense thriller without any chases or thrilling action sequences. The movie depends completely on atmospheric tension. Hitchcock is not called the Master of Suspense for nothing. He shows how minimalistic filmmaking can also generate spine chilling moments of suspense. The film is grounded in realism. Although at first the other characters disapprove of Jefferies' obsession with keeping an eye on his neighbours, but gradually they also become addicted to this practice of voyeurism.

Rear Window is arguably Alfred Hitchcock's best film(which is saying a lot). The movie grabs your attention immediately and never lets got of it. It is an immensely engaging watch and a genuine masterpiece.
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