| Photos (See all 42 | slideshow) |
| Dick Hogan | ... | David Kentley | |
| John Dall | ... | Brandon - His Friend | |
| Farley Granger | ... | Phillip - His Friend | |
| Edith Evanson | ... | Mrs. Wilson - Their Housekeeper | |
| Douglas Dick | ... | Kenneth - Their Rival | |
| Joan Chandler | ... | Janet - David's Girl | |
| Cedric Hardwicke | ... | Mr. Kentley - David's Father (as Sir Cedric Hardwicke) | |
| Constance Collier | ... | Mrs. Atwater - David's Mother | |
| James Stewart | ... | Rupert Cadell | |
| rest of cast listed alphabetically: | |||
| Alfred Hitchcock | ... | Man Walking in Street After Opening Credits (uncredited) | |
Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| Hume Cronyn | (adapted by) | |
| Patrick Hamilton | (from the play by) | |
| Arthur Laurents | (screenplay) | |
| Ben Hecht | uncredited | |
Produced by | |||
| Sidney Bernstein | .... | producer (uncredited) | |
| Alfred Hitchcock | .... | producer (uncredited) | |
Original Music by | |||
| David Buttolph | (uncredited) | ||
Cinematography by | |||
| William V. Skall | (director of photography) | ||
| Joseph A. Valentine | (director of photography) (as Joseph Valentine) | ||
Film Editing by | |||
| William H. Ziegler | (film editor) | ||
Art Direction by | |||
| Perry Ferguson | |||
Set Decoration by | |||
| Howard Bristol | |||
| Emile Kuri | |||
Makeup Department | |||
| Perc Westmore | .... | makeup artist | |
| Agnes Flanagan | .... | hair stylist (uncredited) | |
| Ed Voight | .... | makeup artist (uncredited) | |
Production Management | |||
| Fred Ahern | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Lowell J. Farrell | .... | assistant director | |
| Claude Archer | .... | assistant director (uncredited) | |
Art Department | |||
| Dorothea Holt | .... | illustrator (uncredited) | |
| John More | .... | props (uncredited) | |
| Joe Trusty | .... | props (uncredited) | |
Sound Department | |||
| Al Riggs | .... | sound | |
Camera and Electrical Department | |||
| Richard Emmons | .... | operator of camera movement | |
| Eddie Fitzgerald | .... | operator of camera movement (as Edward Fitzgerald) | |
| Paul Hill | .... | operator of camera movement (as Paul G. Hill) | |
| James Potevin | .... | lighting technician (as Jim Potevin) | |
| Morris Rosen | .... | operator of camera movement | |
| Vic Jones | .... | gaffer (uncredited) | |
| Harry Marsh | .... | assistant camera (uncredited) | |
| John Miehle | .... | still photographer (uncredited) | |
| Harold Noyes | .... | grip (uncredited) | |
| Morris Rosen | .... | grip (uncredited) | |
| Phil Wagner | .... | best boy (uncredited) | |
Costume and Wardrobe Department | |||
| Adrian | .... | dress: Miss Chandler | |
| Marion Dabney | .... | wardrobe (uncredited) | |
| Lillian House | .... | wardrobe assistant (uncredited) | |
| Leon Roberts | .... | wardrobe (uncredited) | |
Music Department | |||
| Leo F. Forbstein | .... | musical director | |
Other crew | |||
| Robert Brower | .... | associate technicolor color director | |
| Natalie Kalmus | .... | technicolor color director | |
| Dinsmore Alter | .... | cloud technical advisor (uncredited) | |
| Charlsie Bryant | .... | script supervisor (uncredited) | |
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| Strangers on a Train | All Good Things | Caché (Hidden) | Disturbia | Eyes Wide Shut |
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I place this one in my list of films anyone should watch. That is, in order to understand some fundamental issues on film-making and films in the last 50 years.
What i'm least interested in here are the technical innovations. Those represent today a curiosity, a museum fact, worth being remembered and credited to those who worked for them, but just it.
I'm also not so interested in the underlying taboo subjects, namely those regarding the homosexuality issue. In respect to that, i even think the whole film construction, from casting to scene writing threw away many things. I'll get morecontroversial. I think Hitchcock in fact despised those messages (the writers were worried in exploring them, not Hitch), he was not after meanings or controversies, he was after something far more ingenious and influential. I'm talking about his camera eye.
Before this one, all Hitch's work was something between a classical construction and some exploration of the camera as carrier of a character's (and the audience's) emotion/feeling/sensation. The library scene in 'Shadow of a doubt', for example, is the perfect example of what i'm talking about. Anyway, that will Hitch had of making the camera follow around characters, sets, and reveal what a character (or "god") had to reveal was already notable. In here, he made that the theme of the picture. One single set, very few characters, a clear as water story (which he made even clearer by not throwing any doubt about the destiny of the murdered boy). The sexual issues also go to second importance issues. The apartment is at once simple enough to solve the technical difficulties of filming it, and large and divided enough to allow the camera to explore it, searching for elements, for dialogues or for actions. The camera has curiosity, it is almost a character, a character called audience. Years later, in different molds, Hitch would place Stewart behind the camera and definitely assume it as a physical character in the plot (Rear Window). In here what we get is fully a camera that moves to the whishes of the director. The curious, ever searching camera that dePalma would reinvent and Polanski master shows up here.
I believe the work of dePalma, in a way Polanski, Chabrol and even some Godard (Le mépris is filled with this) all derive from what happened here. Hitchcock would probably hit the top with Rear Window, but here is where he becomes an inventor.
My evaluation: 5/5 . one of the cinematic manifestos