Download Rear Window
(mystery, thriller)
In 1950-something New York, an adventuresome free-lance photographer finds himself confined to a wheelchair in his tiny apartment while a broken leg mends. With only the occasional distraction of a visiting nurse and his frustrated love interest, a beautiful fashion consultant, his attention is naturally drawn to the courtyard outside his "rear window" and the occupants of the apartment buildings which surround it. Soon he is consumed by the private dramas of his neighbors lives which play themselves out before his eyes. There is "Miss Lonelyhearts," so desperate for her imaginary lover that she sits him a plate at the dinner table and feigns their ensuing chat. There is the frustrated composer banging on his piano, the sunbathing sculptress, the shapely dancer, the newlyweds who are concealed from their neighbors by a window shade, and a bungling middle-aged couple with a little yapping dog who sleep on the fire escape to avoid the sweltering heat of their apartment. ...And then there is the mysterious salesman whose nagging, invalid wife's sudden absence from the scene ominously coincides with middle-of-the-night forays into the dark, sleeping city with his sample case. Where did she go? What's in the trunk that the salesman ships away? What's he been doing with the knives and the saw that he cleans at the kitchen sink?
actors:
James Stewart | as L. B. 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 Lonelyheart |
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 |
Marla English | as Girl at songwriter's party |
Alfred Hitchcock
rating:8.70
Alfred Hitchcock Rear Window, wittily written by John Michael Hayes,
is one of his many films I think a large part of a technical exercise as
Anything else. This is their silence The Lodger,
Static, Lifeboat confined, and the cuts less, a set of rope. Considered
From this standpoint it is a masterpiece cold, playing more with the
hearing the thoughts and fears that her soft, more personal
Emotions. As such, it's a very cerebral and the satisfaction of work.
The plot is simple: A photographer (James Stewart) is jammed with
Inside his leg in a cast during a hot summer in New York. His
Women-girl friend (Grace Kelly) is willing to marry him, but Stewart
has his doubts, since he lives a life of wandering and it is from another
social class. He spends most of his time on idle and playing with
His camera. Over time it becomes a voyeur (it probably already is,
A grade) and begins to observe its neighbours privacy of the person, as he
Opinions through his lens on the patio. Develops
attitudes towards each of them, ranging from mild to empathy for fun sex
Interest, depending on who he's looking at. Without realizing that he is really looking
in different ways, either himself or his
relationship with Kelly. The yard is a kind of mirror of his soul.
These people and their difficulties represent different parts of your
(And to a lesser extent Miss Kelly's) personality, offering glimpses
Potential past, present and future themselves, and not
Halagador is always a picture. The newlyweds are continually having sex;
Miss Torso is a beautiful young woman who entertains many suitors; there
without children, a little pathetic-seeming middle-aged couple who dote over
pet dog, Miss Lonelyhearts is a depression, aging spinster without
Aparente friends, and the young, single song-writer, when he is not
Trying to compose songs, or parts or throw fits. Then
Thorwalds so, a couple of fights across the road. Stewart is at First
only slightly interested in them until it disappears Mrs. Thorwald
And her husband starts out at night carrying packages of paper
aspect that came from a butcher. Soon Stewart was
understandably suspicious. He convinces Kelly that something is amiss,
But it has problems with his friend Detective. His nurse Stella agree that
Something is wrong with the entire courtyard, and the trio was
Detectives fans. Rear Window is a lot of fun. It is a thriller, a
Romance, a mystery, and sometimes a comedy of manners. The actors all
Dar arrogance, unflashy performances. Hitchcock has been making films
For three decades by the time they committed it, and he knew
Exactly what I was doing, everything happens as it should, in time,
Without noise or discomfort. The courtyard is superbly designed and set
photography, which covers both artificial and unrealistic, and it seems almost
In return, sometimes the circumstances. This is, after
Dial M For Murder, the first truly Hitchcock 'fifty' film, ie it is a very
away from the gentle romances and spy things that had been doing before.
There is less use of the atmosphere here, as a new, more independent director
was emerging strongly after the Selznick, often using color.
Hitchcock is playing a kind of chess game film, the movement of people and
Things around here and there, changing camera angles slyly never
Showing his hand. The film lacks warmth. All kinds of learned
Books and articles have been written on this table, some of them
Pretty stupid, and everyone, at least partly right. This is often a deep
film, but also aims to entertain, it has a light touch, and can be
fear is romantic about couples and cynical about people. There
A little bit of everything in it - 's a work of art.
Many reviewers and critics have commented on the subject of Alfred Hitchcock of the
Voyeur in the Rear Window (the mere thought of a voyeur in a film of suspense
evokes images of another classic movies Hitchcock), and I felt that
Voyeuristic mistake too. But I realized something that I had not thought
As I have seen for the first time-this is a change to their
Skills Hitchcock as the master of silent-movie chills. As L.B. Jeffries (Jimmy Stewart
In one of his most infamous) is in his wheelchair out:
perspective to the other people in the apartment, overlooking the audience
Right-side along him. So, for roughly 50 percent of the film, the only sounds you hear
sounds simple realism, as the camera keeps Hitch
Turning a blind eye on things. As
emotion in the construction of the second hour of the film is considerably more than
dialogue that of the first hour. This could, and occasionally does, this
A challenge for the audience member that can be accepted and paid
Takeoff or resentment, we can sit back and see how things develop in a movie < br> 20 years? Personally, the experience of seeing these events and
Increase was about electrifying. Along with the return of Stewart, who
Oscila between fun for terrified, forcing the frightened (ie, Hitch
Daily men), there are Grace Kelly as Lisa, which has its own beauty and < br> internal conflicts, and Raymond Burr as Thorvold, which could have
Little things go better with his wife.
If we sympathize with Jeff, it is because we have become the largest apart from its
Mind-set/POV as it is, and that is the ticket to the film really
Success. Not only is there a kind of magnetic ability to which Hitchcock (and
Filmmaker Robert Burks) presents us with the apartments' support
And side and the way that their destinies are played against the attached
Telón background, but the psychology of Jeff becomes parallel, or against, the
From public. This is the story of a man from the temptation and coercion that
participate with which you can view (like the film buffs have with any
Film), and how the perception of reality around him become ours. Rear Window
date may have become for some fans to the film, especially since the
Topic has played in other films and television programs (such as the Simpsons for
Example). However, there is some efficiency to which we all, including in the previous
scenes, which have an advantage over imitators. A +
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See also: Mystery: Angel Heart
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