I just got back from seeing 'Rear Window' in a cinema. It's probably
the tenth time or so I have seen it 'full size'. Every time I am
captivated by, above all else, the 'editing'. I put the word in quotes
because it is not the 'classical' aspects of editing - rhythm etc.,
that I see, but the way in which Hitchcock cuts each scene up into
detailing shots which, in turn, dovetail together to create a logical
This is yet another example of the Master giving us a lesson in film theory. LB is playing Sherlock Holmes. He is adding small facts together to make bigger understandings. So Hitch uses the characteristic of montage discovered by Kuleshov in the early days of post-revolutionary Russia to take us through the process. It is magical.
But it wouldn't be so magical were it not for Hitch's wonderful characters - Miss Lonelyhearts, Miss Torso, the composer and so on. And they also contribute to this master-class in stylistics as each is given just enough screen-time to define their place in the drama.
And finally, and finally, and finally... there is Grace Kelly - the most beautiful, graceful, feminine star ever to light up our lives. And how are we introduced to her? She kisses us! Heart stops.
Maybe Hitchcock really was the greatest director ever. And there is nobody, nobody currently making films at this level of sheer genius.
Star Wars? Godfather? They are not in the same galaxy as this cinematic wonder.
|Plot summary||Plot synopsis||Ratings|
|Awards||Newsgroup reviews||External reviews|
|Parents Guide||Plot keywords||Main details|
|Your user reviews||Your vote history|