A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
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 <firstname.lastname@example.org>
The entire picture was shot on one set, which required months of planning and construction. The apartment-courtyard set measured 98 feet wide, 185 feet long and 40 feet high, and consisted of 31 apartments, eight of which were completely furnished. The courtyard was set 20 to 30 feet below stage level, and some of the buildings were the equivalent of five or six stories high. The film was shot quickly on the heels of Dial M for Murder (1954), November 27 1953-February 26 1954. See more »
When Lisa goes to Jeff's house to celebrate his last week with his cast, she places two candles onto the table next to him, the candles are not lit. A little later in the same scene, Lisa walks into the kitchen, and when she returns, the candles are lit. See more »
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]
L.B. Jefferies' Editor:
L.B. Jefferies' Editor:
For getting rid of that cast!
Who said I was getting rid of it?
L.B. Jefferies' Editor:
This is Wednesday; seven weeks from the day you broke your leg. Yes or no?
Gunnison, how did you ever get to be such a big editor with such a small memory?
[...] See more »
Excellent. Sharp, clever, funny, inventive, with great values all round.
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
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