| Photos (see all 78 | slideshow) | Videos (see all 6) |
| James Stewart | ... | L. B. 'Jeff' Jefferies | |
| Grace Kelly | ... | Lisa Carol Fremont | |
| Wendell Corey | ... | Det. Lt. Thomas J. Doyle | |
| Thelma Ritter | ... | Stella | |
| Raymond Burr | ... | Lars Thorwald | |
| Judith Evelyn | ... | Miss Lonelyhearts | |
| Ross Bagdasarian | ... | Songwriter | |
| Georgine Darcy | ... | Miss Torso | |
| Sara Berner | ... | Wife living above Thorwalds | |
| Frank Cady | ... | Husband living above Thorwalds | |
| Jesslyn Fax | ... | Sculpting neighbor with hearing aid | |
| Rand Harper | ... | Newlywed man | |
| Irene Winston | ... | Mrs. Anna Thorwald | |
| Havis Davenport | ... | Newlywed woman | |
| Marla English | ... | Girl at songwriter's party | |
| Kathryn Grant | ... | Girl at songwriter's party (as Kathryn Grandstaff) | |
| Alan Lee | ... | Newlyweds' landlord | |
| Anthony Warde | ... | Detective | |
| Benny Bartlett | ... | Man with Miss Torso | |
| Fred Graham | ... | Detective | |
| Harry Landers | ... | Man with Miss Lonelyheart | |
| Dick Simmons | ... | Man with Miss Torso | |
| Iphigenie Castiglioni | ... | Woman with bird | |
| Ralph Smiley | ... | Carl, waiter from 21 | |
| Eddie Parker | ... | Detective (as Edwin Parker) | |
| Len Hendry | ... | Policeman | |
| Mike Mahoney | ... | Policeman | |
| rest of cast listed alphabetically: | |||
| Jerry Antes | ... | Dancer with Miss Torso (uncredited) | |
| Barbara Bailey | ... | Choreographer with Miss Torso (uncredited) | |
| Nick Borgani | ... | Minor Role (uncredited) | |
| Sue Casey | ... | Sunbather (uncredited) | |
| James Cornell | ... | Minor Role (uncredited) | |
| Don Dunning | ... | Detective (uncredited) | |
| Bess Flowers | ... | Songwriter's party guest with poodle (uncredited) | |
| Art Gilmore | ... | Radio announcer (voice) (uncredited) | |
| Alfred Hitchcock | ... | Man winding clock in songwriter's apartment (uncredited) | |
| Jonni Paris | ... | Sunbather (uncredited) | |
| Jack Stoney | ... | Ice Man (uncredited) | |
Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| John Michael Hayes | (screenplay) | |
| Cornell Woolrich | (short story "It Had to Be Murder") | |
Produced by | |||
| James C. Katz | .... | producer (1998 restoration) | |
| Alfred Hitchcock | .... | producer (uncredited) | |
Original Music by | |||
| Franz Waxman | |||
Cinematography by | |||
| Robert Burks | (director of photography) | ||
Film Editing by | |||
| George Tomasini | |||
Art Direction by | |||
| J. McMillan Johnson | (as Joseph MacMillan Johnson) | ||
| Hal Pereira | |||
Set Decoration by | |||
| Sam Comer | |||
| Ray Moyer | |||
Makeup Department | |||
| Wally Westmore | .... | makeup supervisor | |
Production Management | |||
| C.O. Erickson | .... | unit production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Herbert Coleman | .... | assistant director | |
Art Department | |||
| Dorothea Holt | .... | illustrator (uncredited) | |
| Gene Lauritzen | .... | construction coordinator (uncredited) | |
Sound Department | |||
| John Cope | .... | sound recordist | |
| Harry Lindgren | .... | sound recordist | |
| Harry E. Snodgrass | .... | sound editor (1998 restoration) | |
| Richard LeGrand Jr. | .... | supervising sound editor (1998 restoration) (uncredited) | |
| Loren L. Ryder | .... | sound recording mixer (uncredited) | |
| Samuel Webb | .... | assistant sound editor: 1998 restoration (uncredited) | |
Special Effects by | |||
| John P. Fulton | .... | special photographic effects | |
Visual Effects by | |||
| Scott Dougherty | .... | digital restoration producer: Cinesite (uncredited) | |
| Jerry Pooler | .... | digital restoration supervisor (uncredited) | |
| Irmin Roberts | .... | special visual effects (uncredited) | |
| Tiffany Smith | .... | digital restoration coordinator: Cinesite (uncredited) | |
Stunts | |||
| Fred Graham | .... | stunt detective (uncredited) | |
| Ted Mapes | .... | stunts (uncredited) | |
| Eddie Parker | .... | stunt detective (uncredited) | |
Camera and Electrical Department | |||
| William Schurr | .... | camera operator (uncredited) | |
| Leonard J. South | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Edith Head | .... | costumes | |
Editorial Department | |||
| Steve Johnson | .... | colorist | |
| Jeff Smithwick | .... | color timer: Technicolor (1998 restoration) (uncredited) | |
Other crew | |||
| Robert A. Harris | .... | 1998 reconstruction and restoration | |
| Bob Landry | .... | technical advisor | |
| Richard Mueller | .... | technicolor color consultant | |
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| Shadow of a Doubt | Mr. Klein | La historia oficial | Babel | Suspicion |
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| Full cast and crew | Company credits | External reviews |
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| IMDb USA section | Add this title to MyMovies |
Alfred Hitchcock's Rear Window, wittily written by John Michael Hayes, is one of his many films I think of as much of a technical exercise as anything else. It is in this sense like his silent The Lodger, the static, confined Lifeboat, and the cut-less, one set Rope. Considered in this light it is a cold masterpiece, playing more with the audience's thoughts and fears than with its softer, more personal emotions. As such, it is a very cerebral and satisfying piece of work. The plot is deceptively simple: a photographer (James Stewart) is stuck indoors with his leg in a cast during a hot New York summer. His socialite girl-friend (Grace Kelly) is eager to marry him but Stewart has his doubts, since he lives a wandering life and is from a different social class. He spends most of his time idling about and playing with his camera. In time he becomes a voyeur (which he probably already is, to a degree) and begins to observe his neighbors' private lives, as he views them through his lens in the courtyard. He develops attitudes toward each of them, ranging from mild amusement to empathy to sexual interest, depending on who he's looking at. Without realizing it he is really looking at different aspects of either himself or his relationship with Kelly. The courtyard is a kind of mirror of his soul. These people and their predicaments represent different sides of his (and to a lesser extent Miss Kelly's) personality, offering glimpses of potential past, present and future selves; and it is not always a flattering picture. The newlyweds are continually having sex; Miss Torso is a beautiful young woman who entertains many suitors; there is a childless, somewhat pathetic-seeming middle-aged couple who dote over a pet dog; Miss Lonelyhearts is a depressed, aging spinster with no apparent friends; and the young, bachelor song-writer, when he isn't trying to compose songs, is either throwing parties or fits. Then there are the Thorwalds, a squabbling couple across the way. Stewart is at first only slightly interested in them until Mrs. Thorwald disappears and her husband starts going out at night carrying paper parcels that look like they came from a butcher shop. Soon Stewart is, understandably, suspicious. He convinces Kelly that something is amiss, but has trouble with his detective friend. His nurse Stella agrees that something is wrong across the courtyard, and the threesome become amateur detectives. Rear Window is great fun. It's a thriller, a romance, a mystery, and at times a comedy of manners. The actors all give superb, unflashy performances. Hitchcock had been making movies for three decades by the time he undertook this one, and he knew exactly what he was doing; everything happens as it should, on time, with no fuss or bother. The courtyard set is magnificently designed and photographed; it looks both artificial and realistic, and seems almost to change at times, as circumstances dictate. This is, after Dial M For Murder, Hitchcock's first truly 'fifties' film, which is to say it is a far cry from the genteel romances and spy stuff he'd been doing before. There's less use of atmosphere here, as a new, more independent director was emerging, decidedly post-Selznick, often using color. Hitchcock is playing a sort game of cinematic chess, moving people and things around here and there, changing camera angles slyly, never showing his hand. The film lacks only warmth. All sorts of learned books and articles have been written about this picture, some of them quite silly; all at least partly right. This is at times a profound film, but it also aims to entertain, it has a light touch, and it can be scary, it's romantic about couples and cynical about people. There's a little bit of everything in it,--it's a work of art.