IMDb > Rear Window (1954)
Rear Window
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Rear Window (1954) More at IMDbPro »

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

Overview

User Rating:
8.6/10   231,367 votes »
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Down 1% in popularity this week. See why on IMDbPro.
Director:
Writers:
John Michael Hayes (screenplay)
Cornell Woolrich (based on the short story by)
Contact:
View company contact information for Rear Window on IMDbPro.
Release Date:
29 January 1955 (Japan) See more »
Genre:
Tagline:
The Essential Hitchcock See more »
Plot:
A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 4 Oscars. Another 6 wins & 6 nominations See more »
User Reviews:
The Master In Control See more (580 total) »

Cast

  (in credits order) (verified as complete)

James Stewart ... L.B. 'Jeff' Jefferies

Grace Kelly ... Lisa Carol Fremont

Wendell Corey ... Det. Lt. Thomas J. Doyle

Thelma Ritter ... Stella

Raymond Burr ... Lars Thorwald
Judith Evelyn ... Miss Lonelyhearts
Ross Bagdasarian ... Songwriter
Georgine Darcy ... Miss Torso
Sara Berner ... Woman on Fire Escape

Frank Cady ... Man on Fire Escape
Jesslyn Fax ... Miss Hearing Aid
Rand Harper ... Newlywed
Irene Winston ... Mrs. Emma Thorwald
Havis Davenport ... Newlywed
rest of cast listed alphabetically:
Jerry Antes ... Dancer with Miss Torso (uncredited)
Barbara Bailey ... Choreographer with Miss Torso (uncredited)
Benny Bartlett ... Man with Miss Torso (uncredited)
Nick Borgani ... Minor Role (uncredited)
Sue Casey ... Sunbather (uncredited)
Iphigenie Castiglioni ... Woman with Bird (uncredited)
James Cornell ... Minor Role (uncredited)
Don Dunning ... Detective (uncredited)
Marla English ... Girl at Songwriter's Party (uncredited)
Bess Flowers ... Songwriter's Party Guest with Poodle (uncredited)
Art Gilmore ... Radio Announcer (voice) (uncredited)
Fred Graham ... Detective (uncredited)

Kathryn Grant ... Girl at Songwriter's Party (uncredited)
Charles Harvey ... Minor Role (uncredited)
Len Hendry ... Policeman (uncredited)

Alfred Hitchcock ... Clock-Winder in Songwriter's Apartment (uncredited)
Harry Landers ... Man with Miss Lonelyhearts (uncredited)
Alan Lee ... Newlyweds' Landlord (uncredited)
Mike Mahoney ... Policeman (uncredited)
Jonni Paris ... Sunbather (uncredited)
Eddie Parker ... Detective (uncredited)
Robert Sherman ... Minor Role (uncredited)
Dick Simmons ... Man with Miss Torso (uncredited)
Ralph Smiley ... Carl (uncredited)
Jack Stoney ... Ice Man (uncredited)

Anthony Warde ... Detective (uncredited)

Gig Young ... Jeff's Editor (voice) (uncredited)
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Directed by
Alfred Hitchcock 
 
Writing credits
John Michael Hayes (screenplay)

Cornell Woolrich (based on the short story by)

Produced by
Alfred Hitchcock .... producer (uncredited)
 
Original Music by
Franz Waxman (music score by)
 
Cinematography by
Robert Burks (director of photography)
 
Film Editing by
George Tomasini (edited by)
 
Art Direction by
J. McMillan Johnson  (as Joseph MacMillan Johnson)
Hal Pereira 
 
Set Decoration by
Sam Comer 
Ray Moyer 
 
Costume Design by
Edith Head (costumes)
 
Makeup Department
Wally Westmore .... makeup supervisor
 
Production Management
C.O. Erickson .... unit production manager (uncredited)
 
Second Unit Director or Assistant Director
Herbert Coleman .... assistant director
Lloyd Allen .... second assistant director (uncredited)
 
Art Department
Dorothea Holt .... illustrator (uncredited)
Gene Lauritzen .... construction coordinator (uncredited)
 
Sound Department
John Cope .... sound recordist
Harry Lindgren .... sound recordist
Howard Beals .... sound editor (uncredited)
Loren L. Ryder .... sound recording mixer (uncredited)
 
Visual Effects by
John P. Fulton .... special photographic effects
Irmin Roberts .... special visual effects (uncredited)
 
Stunts
Fred Graham .... stunt detective (uncredited)
Ted Mapes .... stunts (uncredited)
Eddie Parker .... stunts (uncredited)
 
Camera and Electrical Department
William Schurr .... camera operator (uncredited)
Leonard J. South .... assistant camera (uncredited)
 
Costume and Wardrobe Department
Joan Joseff .... costume jeweller (uncredited)
 
Editorial Department
Steve Johnson .... colorist (uncredited)
 
Music Department
Sidney Cutner .... orchestrator (uncredited)
Gus Levene .... orchestrator (uncredited)
Leonid Raab .... orchestrator (uncredited)
Leo Shuken .... orchestrator (uncredited)
Van Cleave .... orchestrator (uncredited)
 
Other crew
Bob Landry .... technical advisor
Richard Mueller .... color consultant: Technicolor
Irene Ives .... script supervisor (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
"Alfred Hitchcock's Rear Window" - UK (complete title), USA (complete title)
See more »
Runtime:
112 min
Country:
Language:
Color:
Color (Eastmancolor) (negative) | Color (Technicolor) (prints)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Argentina:13 | Australia:PG | Australia:M (TV rating) | Brazil:12 | Canada:PG (Manitoba/Ontario) | Canada:A (Nova Scotia) (1983) | Canada:G (Quebec) (1983) | Chile:14 | Finland:K-8 | France:U (2000 re-release) | Germany:12 | Iceland:L | Italy:T | Japan:G (2009) | Netherlands:AL | Netherlands:18 (orginal rating) | New Zealand:PG | Norway:16 | Peru:14 | Portugal:M/12 | Singapore:PG | South Korea:15 | Spain:T | Sweden:11 (re-rating) (1984) | Sweden:15 (original rating) (1955) | UK:A (original rating) | UK:PG (tv rating) | UK:PG (video rating: additional material, audio commentary) (2012) | UK:PG (video rating) (1988) (2001) | UK:PG (re-release) (re-rating) (1983) (2000) (2012) | USA:Approved (PCA #16938) | USA:Approved (PCA #27069: 1998 restoration) | USA:TV-G (TV rating) | USA:PG (re-rating) (1983) (cerfiticate no. 27069) | West Germany:16 (f)

Did You Know?

Trivia:
To accommodate the enormous set, a higher ceiling was required. Alfred Hitchcock had the production company tear out the entire floor of the studio, revealing the basement. What the audience sees as the courtyard was originally the basement level of the studio.See more »
Goofs:
Continuity: When Lisa closes the shades she doesn't close the shade for the side window on the left. When the camera pans left to show Jeff the far-left shade is down.See more »
Quotes:
[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.
L.B. Jefferies' Editor:Congratulations, Jeff!
Jeff:For what?
L.B. Jefferies' Editor:For getting rid of that cast!
Jeff: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?
Jeff:Gunnison, how did you ever get to be such a big editor with such a small memory?
[...]
See more »
Movie Connections:
Referenced in Spiral (2007/I)See more »
Soundtrack:
Martha, oder Der Markt zu RichmondSee more »

FAQ

Where is Hitchcock's cameo in "Rear Window"?
Is "Rear Window" based on a book?
Why was Jeff so resistant to marrying (or continuing his relationship with) Lisa?
See more »
102 out of 166 people found the following review useful.
The Master In Control, 8 April 2001
Author: telegonus from brighton, ma

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.

Was the above review useful to you?
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Masterpiece seinfeldbenes11
Grace Kelly's beauty DaveyV7
Outdoor Couple kosmickrab
Double speed in the ending? kjstavik
Love this movie but one thing bothers me. . . Astrid2266
Why didn't Jeff mention the scream? rmp251
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