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Rear Window (1954)

Approved  |   |  Mystery, Thriller  |  1954 (UK)
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Reviews: 616 user | 172 critic

A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.



(screenplay), (based on the short story by)
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Top Rated Movies #37 | Nominated for 4 Oscars. Another 6 wins & 8 nominations. See more awards »



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Complete credited cast:
Judith Evelyn ...
Ross Bagdasarian ...
Georgine Darcy ...
Sara Berner ...
Jesslyn Fax ...
Rand Harper ...
Irene Winston ...
Havis Davenport ...


Professional photographer L.B. "Jeff" Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. He begins to suspect that a man across the courtyard may have murdered his wife. Jeff enlists the help of his high society fashion-consultant girlfriend Lisa Freemont and his visiting nurse Stella to investigate. Written by Col Needham <col@imdb.com>

Plot Summary | Plot Synopsis


Seeing isn't always believing. (1983 re-release) See more »


Mystery | Thriller


Approved | See all certifications »

Parents Guide:





Release Date:

1954 (UK)  »

Also Known As:

Alfred Hitchcock's Rear Window  »

Box Office


$1,000,000 (estimated)

Opening Weekend:

$15,172 (USA) (21 January 2000)


$24,500,000 (USA)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)


(Eastmancolor) (negative)| (Technicolor) (prints)

Aspect Ratio:

1.66 : 1
See  »

Did You Know?


Alfred Hitchcock had a bit of fun and achieved a memorable effect using the short-wave system. Giving directions in the scene where the couple with the dog are sleeping on their fire escape and get caught in the rain, he had Sara Berner turn off her earpiece while he gave one set of instructions to Frank Cady. Then he asked Cady to turn off his earpiece and gave an opposite set of directions to Berner. When the rain started and they were supposed to grab their mattress and run inside, they each moved in separate directions, resulting in a comically bumbling bit that ended with Cady falling through the window into their apartment. See more »


At the end of Jeff's first massage, Stella places the bottle with the green liquid on the side table without replacing the cap. As Stella is packing to leave, the bottle is capped as she places it in her bag. See more »


[first lines]
Voice on radio: Men, are you over 40? When you wake up in the morning, do you feel tired and rundown? Do you have that listless feeling...
[the camera pans around the courtyard; cut to later in the day]
Jeff: [answering phone] Jefferies.
Jeff's Editor: Congratulations, Jeff!
Jeff: For what?
Jeff's Editor: For getting rid of that cast!
Jeff: Who said I was getting rid of it?
Jeff's Editor: This is Wednesday; seven weeks from the day you broke your leg. Yes or no?
Jeff: Gunnison, how did you ever get to be such a big editor with such a small memory?
See more »


Referenced in Cheers: Hot Rocks (1989) See more »


Martha, oder Der Markt zu Richmond
(1847) (uncredited)
Music by Friedrich von Flotow
Libretto by Friedrich Wilhelm Riese
See more »

Frequently Asked Questions

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User Reviews

The Master In Control
8 April 2001 | by (brighton, ma) – See all my reviews

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.

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