Rear Window Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder.
Here, Hitchcock concocted his most original, most challenging concept yet: For such an on-the-go guy, his current condition is particularly frustrating. While photographing a recent auto race, Jeff was apparently hit by one of the cars and broke his leg.
Of his many neighbors, Jeff becomes most obsessed with Mr. Thorwald, the feuding husband and wife who share a three-window apartment directly across from his. One day, Jeff sees them arguing, and after hearing a loud crash and scream that night, notices the wife is missing the next morning.
Jeff continues to watch as Mr. Is Thorwald simply making night runs as a salesman? Or, has something more heinous actually occured? But as Jeff continues to piece together the puzzle, his case for Mrs. The first, from Sussex, England, saw Patrick Mahon dismember the body of his mistress and store the pieces in a large trunk, tin cans and hatbox.
The second, from London, saw Dr. Hitch knew these stories well and was thrilled to apply them to his own unique blend of suspense and black comedy. G Though he never asked for a writing credit, Hitchcock worked tirelessly on the script with Hayes — their first of four together.
You can imagine the giant blocks of text devoted entirely to image and action in that script, as we do more watching here than most any other movie. While Jeff is ultimately right about most of his suspicions, the script keeps us enthralled with the desire to prove him right.
How better to mine the depths of darkness than with Hitchcock? Still, Stewart always considered Rear Window his favorite. And maybe it was better that way. It meant they had to act. We watch him because he is a compelling character, period.
More actors today should work on chiseling their characters as much as their bodies. As for Grace Kelly, she is both divine to look at and pivotal in her performance. A No one rocked an Edith Head costume better than Kelly. The film came at the height of her glamour.
Her legend only grew after a fatal car accident inwhere she was killed on roads not so far from those she drove in To Catch a Thief.Rear Window: Irresistible Voyeurism Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship.
Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. Get all the details on Rear Window: Love and Marriage. Description, analysis, and more, so you can understand the ins and outs of Rear Window.
Rear Window () directed by Alfred Hitchcock. Home / Movies / Rear Window / Analysis / Symbols and Tropes / Love and Marriage ;. Analysis Marriage And Relationships In Rear Window.
Fear of Marriage and Voyeurism in Rear Window In Alfred Hitchcock's classic thriller Rear Window, Jimmy Stewart stars as L.B.
Jeffries, a world traveling magazine photographer accustomed to living a fast pace active ph-vs.com Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his.
Marriage Anxieties and Voyeurism in Rear Window In Alfred Hitchcock?s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair.
He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. Hitchcock’s Rear Window (): The Limited Perspective of the Voyeur.
Alfred Hitchcock’s thriller Rear Window encapsulates his masterful use of controlling information to create deep-seated suspense in the audience. James Stewart plays L.B. Jefferies, a photographer bound to a wheelchair in his apartment as his broken leg heals.
Alfred Hitchcock as a Misogynist In the film Rear Window, directed by Alfred Hitchcock, misogyny and Svengali is portrayed throughout the film. Misogyny is the hatred of women by men however; Svengali is a person who manipulates or exerts excessive control over another.