Rear Window (1954)

Director:

Alfred Hitchcock

Writers:

John Michael Hayes (screenplay)
Cornell Woolrich (based on the short story by)

Release Date:

14 January 1955 (Japan)

Genre:

Mystery | Romance | Thriller

Tagline:

The Essential Hitchcock

Plot:

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

Plot Keywords:

Apartment | Neighbor | Salesman | Window | Photographer

Awards:

Nominated for 4 Oscars. Another 4 wins & 5 nominations

Cast

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	...	Small Role (uncredited)
Len Hendry	...	Policeman (uncredited)
Alfred Hitchcock	...	Man Winding Clock 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	...	Small Role (uncredited)
Dick Simmons	...	Man with Miss Torso (uncredited)
Ralph Smiley	...	Carl the Waiter (uncredited)
Jack Stoney	...	Ice Man (uncredited)
Anthony Warde	...	Detective (uncredited)
Gig Young	...	L.B. Jefferies' Editor (voice) (uncredited)

Directed by
Alfred Hitchcock

Writing credits
John Michael Hayes		(screenplay)
Cornell Woolrich		(based on the short story by)

Produced by
James C. Katz	....	restoration produced for Universal by (1998 restoration)
Alfred Hitchcock	....	producer (uncredited)

Original Music by
Franz Waxman		(music score by)

Cinematography by
Robert Burks		(director of photography)

Film Editing by
George Tomasini

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)
Richard LeGrand Jr.	....	supervising sound editor (1998 restoration) (uncredited)
Loren L. Ryder	....	sound recording mixer (uncredited)
Harry E. Snodgrass	....	sound editor (1998 restoration) (uncredited)
Samuel Webb	....	assistant sound editor (1998 restoration) (uncredited)

Visual Effects by
John P. Fulton	....	special photographic effects
Scott Dougherty	....	digital restoration producer: Cinesite (1998 restoration) (uncredited)
Jerry Pooler	....	digital restoration supervisor (1998 restoration) (uncredited)
Irmin Roberts	....	special visual effects (uncredited)
Tiffany Smith	....	digital restoration coordinator: Cinesite (1998 restoration) (uncredited)

Stunts
Fred Graham	....	stunt detective (uncredited)
Ted Mapes	....	stunts (uncredited)
Eddie Parker	....	stunt detective (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
Sharon McGeeney	....	negative cutting (1998 restoration)
Steve Johnson	....	colorist (uncredited)
Sharon McGeeney	....	editorial (1998 restoration) (uncredited)
Jeff Smithwick	....	color timer: Technicolor (1998 restoration) (uncredited)

Other crew
Robert A. Harris	....	restored for Universal by (1998 restoration)
Bob Landry	....	technical advisor
Joanne Lawson	....	restoration assistant (1998 restoration)
Richard Mueller	....	Technicolor color consultant
Marlene Noble	....	restoration & research assistant (1998 restoration)
Irene Ives	....	script supervisor (uncredited)

Thanks
Herbert Coleman	....	special thanks (1998 restoration)
Georgine Darcy	....	special thanks (1998 restoration)
Patricia Hitchcock	....	special thanks (1998 restoration) (as Pat Hitchcock O'Connell)
Bob O'Neil	....	special thanks: Universal Studios Restoration Department (1998 restoration)
Bill Varney	....	special thanks: Universal Studios Restoration Department (1998 restoration)

Production Companies

• Paramount Pictures
• Patron Inc.

Distributors

• Paramount Pictures (1954) (USA) (theatrical) (as A Paramount Release)
• Les Films Paramount (1955) (France) (theatrical)
• Paramount Pictures International (1955) (Japan) (theatrical)
• Paramount (1955) (West Germany) (theatrical)
• Paramount Pictures (1962) (USA) (theatrical) (re-release)
• National Broadcasting Company (NBC) (1966) (USA) (TV) (original airing)
• Universal Pictures (1983-2000) (USA) (theatrical) (re-release)
• Cinema International Corporation (C.I.C.) (1984) (Japan) (theatrical)
• MCA Home Video (1984) (USA) (VHS)
• Universal Pictures (1999) (Germany) (VHS)
• USA Films (2000) (USA) (theatrical) (re-release)
• Universal Pictures (2001) (Germany) (DVD)
• Victor Entertainment (2001) (Japan) (DVD)
• Universal Pictures (2002) (Japan) (DVD)
• Universal Pictures Benelux (2007) (Netherlands) (DVD)
• Seven Films (2008) (Greece) (theatrical) (reissue)
• Paramount (1955) (Austria) (theatrical)
• CIC Vídeo (Brazil) (VHS)
• MCA Home Video (video)
• MCA/Universal Home Video (USA) (VHS)
• MCA/Universal Home Video (USA) (laserdisc)
• Universal Home Entertainment (USA) (DVD)
• Universal Home Video (Brazil) (DVD)

Other Companies

• Academy of Motion Picture Arts and Sciences Film Archive, The  special thanks (1998 restoration) (as The Academy of Motion Picture Arts & Sciences Film Archive)
• Academy of Motion Picture Arts and Sciences Margaret Herrick Library  special thanks (1998 restoration) (as The Academy of Motion Picture Arts & Sciences Margaret Herrick Library)
• Cinesite  'THE KISS' digitally restored at (1998 restoration) (as Cinesite, an Eastman Kodak Company)
• Pacific Title/Mirage  additional score digitally restored at (1998 restoration) (as Pacific Title/Mirage Digital)
• Pacific Title/Mirage  optical internegative (1998 restoration)
• Superior Film Service  negative cutting (1998 restoration) (as Superior Film Service, Inc.)
• Technicolor  dye transfer prints by (1998 restoration)
• Universal Studios Sound Facilities  sound editing and re-recording at (1998 restoration) (as Universal Studios Sound Facility)
• Universal Studios Sound Restoration Department  special thanks (1998 restoration) (as Universal Studios Restoration Department)
• YCM Laboratories  master interpositives (1998 restoration)

Also Known As:

"Alfred Hitchcock's Rear Window" - UK (complete title), USA (complete title)

Runtime:

112 min

Country:

USA

Language:

English

Color:

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

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

USA:PG (re-rating) (1983) (cerfiticate no. 27069) | Canada:A (Nova Scotia) (1983) | Canada:G (Quebec) (1983) | Canada:PG (Manitoba/Ontario) | USA:Approved (PCA #16938) | Portugal:M/12 | Spain:T | Iceland:L | Germany:12 | West Germany:16 (f) | Brazil:12 | Sweden:11 (re-rating) (1984) | Sweden:15 (original rating) (1955) | New Zealand:PG | Italy:T | Japan:G (2009) | Australia:M (TV rating) | USA:Approved (PCA #27069: 1998 restoration) | USA:TV-G (TV rating) | Argentina:13 | Australia:PG | Chile:14 | Finland:K-8 | France:U (2000 re-release) | Netherlands:AL | Norway:16 | South Korea:15 | UK:PG | Peru:14 | Singapore:PG

Filming Locations:

Los Angeles, California, USA

Company:

Paramount Pictures

Trivia:

Director Cameo: [Alfred Hitchcock]about a half hour into the film, winding the clock in the songwriter's apartment. The songwriter is real-life songwriter Ross Bagdasarian, creator of Alvin and the Chipmunks.

Goofs:

Factual errors: 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.

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?
[...]

Movie Connections:

Spoofed in "The Simpsons: Bart of Darkness (#6.1)" (1994)

Soundtrack:

That's Amore

The Master In Control

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.