Rear Window
Rating: 5/5
By: Nathaniel Simpson
Alfred Hitchcock has been known as the Master of Suspense for decades, and I think one of the best movies that showcases that is his 1954 masterpiece, "Rear Window". The film, which stars James Stewart and Grace Kelly, not only does a fantastic job of telling a suspenseful murder mystery, but shows Hitchcock towards one of the best points of his career. This film helps set off a period of masterpiece and masterpiece, and "Rear Window" is the perfect film to usher in this incredible phase of his career as a filmmaker. While "Rear Window" may not receive the same attention and respect as his other films, like "Psycho" and "Vertigo", I think it can easily stand toe-to-toe with those films in terms of suspense, character development, and Hitchcock's perfect technical ability.
The film stars Stewart as photographer L.B. Jefferies, who is suffering from a broken leg. He is forced to stay in his apartment in a wheelchair, and decides to just spend his time watching his neighbors from the window of his high-up apartment. The only real interactions he has is with his personal nurse Stella (Thelma Ritter) and his girlfriend Lisa (Kelly), who he is not really committed to despite her longing to have a long, fulfilling relationship with the photographer. He seems obsessed with the lives of his other neighbors instead of his own life, and no one around him can understand why. Then, when he discovers something that looks like a murder, he is able to convince his girlfriend and nurse to help him truly find out if Mr. Thorwald has murdered his wife or not.
Hitchcock, like I mentioned earlier, is known for his suspense and crafting his films around a horrible act, such as murder. This movie takes its time. It likes to focus on the character of Jefferies for about half of the movie, showing how he treats those around him and how self-centered he is. He won't let anyone really get close to him, and even thinks his opinion and knowledge is superior to others. He is, in a way, a sort of despicable character. This counteracts perfectly with Kelly, who plays Lisa as such a beautiful, kind soul who loves other people and is very successful in her line of work. They are the foil to each other, and their chemistry on-screen is great. Their arguments and their relationship are displayed perfectly on the screen.
Then, we watch as Jefferies practically spies on his neighbors, following their daily lives and what they spend their days doing. Hitchcock crafts these moments so well, really placing the viewer in the shoes of Jefferies; in a way, we feel like the Peeping Toms in how Hitchcock shoots the scenes. At the same time, he uses the Kuleshov effect perfectly, by juxtaposing the shots of Jefferies which shots of the different neighbors. By doing this, he really makes the viewer question Jefferies true feelings and demeanor, while also using it to further the plot along, allowing Jefferies to discover that his neighbor might have been murdered.
When the film gets into the second half, which starts to build suspense to a fantastic, dare I say perfect climax, it is obvious the legendary director really starts to have fun. This sort of genre and the themes he uses are his playground, where he is the most comfortable, and he does an amazing job. Every time I watch this beautiful film, my heart beats out of my chest and I feel worry growing for the characters in the film, even though I know what is going to happen. Hitchcock had this masterful effect to make his audiences feel like this, and "Rear Window" is no exception. In fact, I would say this may quite possibly be the best build-up and climax in a Hitchcock film. It works so well, and really has the viewer sitting on the edge of their seats.
The acting from the main cast members here do an amazing job, and each really tap into the roles they are playing. Stewart, who usually plays the charming and kind characters, does an amazing job of playing this paranoid, sort of cruel character who finds himself becoming an invalid due to his injury. He doesn't understand the worry those close to him have, and even gets defensive when his actions are questioned. At the same time, Kelly is really majestic and flawless here, playing such a lovable character that works on every aspect. Hitchcock liked to push his blondes in his films, showing how they are not necessarily good but must be redeemed at the end of this film. Lisa, on the other hand, really just feels like a powerful heroine here who really lights up the screen when she comes on. Consider her introduction to the film, where not only she lights up the room, but therefore Jefferies's life.
The set design and cinematography here are impeccable, with the set being constructed right in a sound stage. That's right, they made this entire apartment complex on a stage, constructing the biggest one seen by Paramount at the time. It's beautiful how they are able to really capture the essence of a New York apartment complex inside an indoor studio, and how Hitchcock is able to use the camera to make it all seem realistic. With him having the film really take place all in one setting, it allows the viewer to really bring themselves into the movie, and find themselves sitting in Jefferies' wheelchair with him. The entire movie is so immersive and feels so real, and it has definitely held up beautifully over time.
"Rear Window" is a glimpse into the genius of Hitchcock, with the perfect amount of suspense, character development and interactions, murder and mayhem, and spot-on storytelling. It's pretty impressive when you look at the films made by Hitchcock throughout his career and notice he has crafted so many cinematic masterpieces that are still celebrated and studied to this day. I think "Rear Window" is one of the best among those masterpieces, and I think this film should be studied by every film student and those wanting to go into the film business. I just wish we got more films like this nowadays, and I still hold out hope we may get one someday soon that matches the genius of Hitchcock.
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