Professional photographer L.B. "Jeff" Jefferies 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 set had to have four lighting set-ups always in place for various times of the day. Remote switches located in Jeff's apartment controlled the lighting. Virtually every piece of lighting that wasn't employed on another Paramount Pictures movie had to be used (by some counts, one thousand huge arc lights and two thousand smaller ones). At one point, the lights caused the sprinkler system to go off, which shut everything down, and plunged the set into total darkness. Sir Alfred Hitchcock calmly told an assistant to bring him an umbrella and let him know when the "rain" stopped. See more »
While Lisa and Stella are digging up the flowers (about 92 minute mark) the pianist is shown playing with other musicians. When the harmonica players starts to play, a saxophone is heard although none is visible. The harmonica is subsequently heard also. 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]
For getting rid of that cast!
Who said I was getting rid of it?
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 »
In addition to the aforementioned "dream sequences", in 1986 Universal also padded the running time by slowing down the action during the main titles. The shades rolled-up so slowly that there was time to play the main title music twice. See more »
I must say, no signs of aging. Embedded in its day and yet totally relevant. Perhaps the most entertaining of all of Hitchcock's films. Marriage is the theme and murder is the hook. James Stewart is as perfect as he's ever been. He uses the contradictions of his character to create someone immediately familiar. Thelma Ritter's practicality includes a rant about the destructive effect of intelligence. Grace Kelly enters the scene like a character in a dream. She remains a sort of dream that's why to see her climb the killer's balcony is one of my most cherished film memories. If you haven't seen the film you may think I'm rambling but if you have, you know exactly what I mean, don't you?
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