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Rear Window (1954)

Approved  |   |  Mystery, Thriller  |  1954 (UK)
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Ratings: 8.5/10 from 291,850 users  
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


Through his rear window and the eye of his powerful camera he watched a great city tell on itself, expose its cheating ways...and Murder! 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?


The original story by Cornell Woolrich had no love story and no additional neighbors for L.B. Jeffries to spy on, and those elements were created by Alfred Hitchcock and John Michael Hayes. Hayes was encouraged by Hitchcock to spend time with Grace Kelly before writing the Lisa character and Hayes admitted that elements of Lisa were inspired by the actress. See more »


The Exakta camera used in this movie is usually held in a way that would suggest that the shutter is triggered on the right-side upward surface, as is normal for most cameras. 35mm Exakta cameras actually have the shutter release on the front of the camera, just left of the lens. 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 La tarea (1991) See more »


Instrumental excerpt from 'Red Garters'
(1954) (uncredited)
Written by Jay Livingston and Ray Evans
See more »

Frequently Asked Questions

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User Reviews

In the mid-fifties, Hitchcock brought remarkable suspense by reverting to the logic of a silent film (with an observer behind the lens as the hero)
15 January 2004 | by (United States) – See all my reviews

Many reviewers and critics have commented on Alfred Hitchcock's theme of the voyeur in Rear Window (the mere thought of a voyeur in a suspense film conjures up images from other classic Hitchcock films), and I felt that voyeuristic bug as well. But I realized something that I hadn't thought of as I watched it for the first time- this is a return for Hitchcock to his skills as a master of silent-film chills. As L.B. Jeffries (Jimmy Stewart in one of his most infamous performances) is in his wheelchair viewing out one perspective to other inhabitants in the apartment, the audience views right along-side him. So, for more or less 50 percent of the film, the only sounds we hear are the sounds of mere realism, as Hitch's camera keeps a close eye on things.

As the thrills build in the second hour of the film there is considerably more dialog than the first hour. This could, and occasionally does, present a challenge for the audience member that could either be accepted & payed off or resented- can one sit back and just watch things unfold as in a film from the 20's? Personally, the experience of seeing these events unfold and increase was near electrifying. Along with Stewart's performance, which ranges from amusing to terrified, compelling to frightened (i.e. Hitch's 'everyday man'), there's Grace Kelly as Lisa, who carries her own beauty & inner conflicts, and Raymond Burr as Thorvold, who could have things going a little better with his wife.

If we empathize with Jeff, it's because we become as much apart of his mind-set/POV as he already is, and that's the ticket to the film's true success. Not only is there a magnetic kind of skill to which Hitchcock (and cinematographer Robert Burks) presents us with the apartments' supporting and minor characters and how their fates are played out against the enclosed backdrop, but the psychology of Jeff becomes parallel, or against, to the audience's. This is the story of one man's temptation and compulsion to be involved with those he can see (much like movie-goers have with any given film), and how perception of the realities around him become ours. Rear Window may have become dated for some movie-goers, particularly since the theme has been played on by other movies and TV shows (like The Simpsons for example). Yet there is a certain effectiveness to it all, even in the earlier scenes, that holds an edge over imitators. A+

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Makeout session between James Stewart and Grace Kelly made me gag brianmack65
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