La finestra sul cortile

Finally, I watched "Rear Window" by famous Alfred Hitchcock. First off, I saw this movie on the top 250, and it's #14 on top of that! I mean, it's gotta be great or a classic, right? Also, I'm a fan of the Simpsons, and I got the 6th season where Bart breaks his leg and has to watch the kids outside and accuses Flanders of murdering his wife, Maude. I watched it with commentary and the writers said this was taken from the movie "Rear Window", I had to see this movie! I know it sounds silly that I was more inspired by a show, but it's a good reference if it's from The Simpsons.

"Rear Window" is an excellent movie and a great classic that should never be forgotten! After 51 years, this is still a well talked about movie and I can see why. Jimmy Stewart, he's just so great as L.B., I loved his madness and his dark comical role. He doesn't even try, but you can't help but laugh at a lot of his lines, the way he looks, and the way he presents every scene. He didn't have a lot of movement, he is confined to a wheel chair, but he is so effective and perfect. No one could have replaced him as L.B., he's a terrific actor! Grace Kelly, what a beauty! Beauty and talent, what a great combination and she had it. Playing Liza, I loved her character so much. She started out as this extremely feminine lovely woman who is struggling with L.B., because he is having doubts about marrying her, and you can tell she loves him so much and is willing to do anything for him and to make their lives work, despite his adventurous side as a photographer and her being an indoor kitten. When L.B. talks of the murder to Liza, she is doubtful but never dismisses that it could be a possibility, and stays with him into the end. She finally goes into danger and grabs it by the you know what and wins L.B.'s heart.

I loved the ending, to me it was just one more good laugh with L.B. and Liza. I won't tell, you'll just have to trust me, it was a brilliant way to breath and smile again after all the suspense and drama. "Rear Window" is a true classic and I'm extremely grateful to the reviewers of IMDb who saw this movie and gave it great reviews, and the writers of The Simpsons! If it were not for you guys, I nor other members of my generation would probably not view it! Let's keep this classic alive!

10/10

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.

In '54, I was seven years old and this is one of the first 'grown up' movies I remember seeing. I have seen it at least ten times since and realize seeing something different each time.

James Stewart is a photographer in a wheelchair recovering from an accident. He passes the time by watching his neighbors out his apartment window. He thinks that he witnessed a murder and has trouble convincing his girlfriend, Grace Kelly, to help prove a crime was committed.

Three scenes that always stuck with me:(1) Stewart fighting off his attacker with flashbulbs (2) the smoldering kiss (3) the glowing cigarette in the dark apartment.

Every bit a classic. I think this is THE BEST Hitchcock movie. No offense intended toward PSYCHO, but this movie has the more human aspects of fear and terror. This super cast includes Raymond Burr, Thelma Ritter and Wendell Corey.

Ah it's a movie that's in IMDB's Top 20, and it has good reason to be. For starter's let's look at the simple premise - James Stewart is L. B. Jeffries, a photographer who is currently recovering from an injury on assignment. With his broken leg he's stuck in his apartment, with nothing better to do than spy on his neighbours and be visited by his girlfriend, Lisa Carol Fremont (Grace Kelly), his officer friend Wendell, and his nurse, Stella. Jeffries observes the coming and goings of the various apartments he can observe (from his rear apartment window) and it is one of these - a Raymond Burr - who draws his attention because. could it be that the man has committed some heinous crime? Let's find out.

One of the beautiful things about the movie is its superb use of location. The whole movie, bar a couple of brief scenes, is set in the apartment. This would seem claustrophobic but Hitchcock never inhibits us like this - he lets us escape through Jeffries binoculars and camera lenses, and his roving camera swoops down to let us see what the characters see (but never, thankfully, anything more than that - this is how you do suspense!). The set design is wonderful - the apartment is just the right size and is nicely laid out. However the real praise is for all the other apartments visible to Jeffries - an actual habitable set with multiple stories where characters can be observed only as they pass by their own windows (yeah, they don't care much for curtains). There's a sense of individuality gone in to each home, despite the fact we can only see barely elements of each. This is helped by a nice, differing range of characters inhabiting each and going about their daily lives - there's a mini soap-opera contained in the movie, all observed at a distance. Excellent stuff.

Acting? It's great here. There's some nice depth to the characters here, with them feeling like actual real people rather than slick one-dimensional tags. Stewart is very proficient in this type of role - he was born to it - and Kelly proves she is more than just a pretty face, managing to effuse her character with both grace (*groan*) and steel. Even supporting characters like Stella are good (she has a wickedly black sense of thinking that's hilarious). What's so incredible is that the characters we observe from a distance in the other apartments (and with whom we never actually interact with) have as much depth as most main characters in movies nowadays. Excellent script and acting in this movie.

I've already praised Hitchcock's set location and camera work, so I won't prattle on about him much more. He does a stellar job here and, in my opinion, this is the best piece of work he's done (that I've seen). It's virtually flawless and you're never let down (or bored). Well done. It's a shame he lost out on an Oscar (although he did have tough competition that year with `On the Waterfront').

`Rear Window' is a great example of how you can successfully have sharp acting, script, and directing and not feel the need for a slew of swear words and gratuitous violence. Regarded as a classic, and deservedly so. 9.1/10

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.