REAR WINDOW (1954)
5/5 stars
Review by John Ulmer
Copyright, 2004
For most of its duration, not a single shot in Alfred Hitchcock's
"Rear Window" takes place outside the small, lonely apartment of L.B.
Jeffries (James Stewart). Every exterior pan originates through the
eyes of the injured photographer, whose broken leg has him restrained
to a wheelchair, living off of the meals of his caretaker, Stella
(Thelma Ritter).
When his fiancιe, Lisa (Grace Kelly), stands outside the window, we
see her but we're still in the room. The camera does not position
itself on the sidewalk, or above the flowerbed next to her, or in the
window of another room it stays put.
What Hitchcock does here is nothing short of brilliant the movie
turns us into unconscious voyeurs as we are forced to take on the
perspective of the protagonist, and participate in his constant
eavesdropping.
This technique of isolation and confinement forms a sort of disturbing
effect that smothers the viewer on a subconscious level we can feel
it, but can't necessarily put a finger on what, exactly, it is.
The movie is also particularly risquι for its time 50 years later
it's the sort of film that would probably receive a PG rating (and, in
fact, after being restored and re-released in 2000, it did). There is
no foul language, no sex, no nudity, no violence (per se), and no drug
content. But there are many insinuations e.g. the mental image
Hitchcock forms in his viewers' minds, of the man next door murdering
his wife; the innuendo involving Lisa's overnight stay at Jeffries'
(and her dress that sparks the interest of a private detective); the
newlywed couple next door ("No comment," Jeffries tells Lisa); Miss
Torso, the ballerina who lives across the street and the amount of
time Jeffries spends watching her dance and change out of clothes.
Jeffries has injured his leg after trying to take a daring photograph
-- now he doesn't have a television or any other means of
entertainment, so he amuses himself by studying the lives of others.
Sound familiar? With "Reality TV" shows such as "Survivor," "Big
Brother" and "Fear Factor," America's growing fascination with
voyeuristic programming is becoming rather startling. Although the
1987 action picture "The Running Man" (and its source manuscript by
Stephen King) is often credited with accurately depicting this odd
form of entertainment, "Rear Window" to a certain degree predicted
it much earlier. 34 years earlier, to be exact.
One night while studying the rooms across the street, Jeffries notices
a strange man carrying a briefcase in and out of a darkened room. The
man's disabled wife (who demands his constant care) is nowhere to be
seen. The next day, she is gone, apparently on a train; but Jeffries
notices Thorvald (Raymond Burr), the mysterious man, cleaning a sharp
knife in the kitchen sink.
Could he have committed murder? Jeffries believes so, and convinces
Lisa and Stella, too. They begin to piece together a number of clues
a disheveled flower bed, a purse, fake letters that lead to one
conclusion: Murder. The problem is that no one else believes them.
A movie such as "Rear Window" would never work nowadays. The main
character would entertain himself with technology not voyeurism. The
windows would not be left open for fear of burglary. Police would be
more willing to believe such a "far-fetched" story, and the private
detective probably wouldn't shrug off Jeffries like he does in the
film.
This is evidenced by the poor remake starring Christopher Reeves, made
for television it didn't make any sense because it was set in this
day and age, featuring an outdated concept. It almost seemed silly,
and was vastly inferior.
But it works in the 1950s, and as a film, "Rear Window' still holds up
beautifully today despite its dated premise (or, at least,
execution), the other elements of the story keep it interesting. We
are willing to suspend our disbelief because it is so great. And
because "back then" the story's progression seems more natural than it
ever would today.
The performances are flawless James Stewart is completely convincing
as Jeffries, a man controlled by his own impulses. Likewise
Hitchcock's typical blonde love interest, Grace Kelly, is marvelous
beautiful and likable, willing to do anything for Jeffries, which
includes breaking into Thorvald's room while he's out and about (which
results in one of the most nerve-jangling suspense sequences of all
time). And Raymond Burr is utterly petrifying as Thorvald, who is
almost always seen from a distance, with his odd white hair and
continually narrowed eyes that just scream murder.
"Rear Window" is often considered by most critics to be Alfred
Hitchcock's greatest masterpiece. For my money, "Psycho" (1960) is his
best but "Rear Window" may very well be number two. With a career
comprised of some truly amazing motion pictures ("The 39 Steps," "The
Lady Vanishes," "The Man Who Knew Too Much," "Shadow of a Doubt,"
"Strangers on a Train," "Vertigo," etc.), it will always be hard to
choose Hitchcock's "best" movie but in terms of narrative, and
filmmaking, and acting, "Rear Window" could justifiably be called one
of his all-time greatest. And, all considered, that's not a compliment
to be taken very lightly.
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