A Phoenix secretary embezzles forty thousand dollars from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.
A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients.
Director:
Milos Forman
Stars:
Jack Nicholson,
Louise Fletcher,
Will Sampson
Marty McFly, a 17-year-old high school student, is accidentally sent thirty years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown.
Director:
Robert Zemeckis
Stars:
Michael J. Fox,
Christopher Lloyd,
Lea Thompson
In 1936, archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before Adolf Hitler's Nazis can obtain its awesome powers.
With the aid of a wealthy erratic tippler, a dewy-eyed tramp who has fallen in love with a sightless flower girl accumulates money to be able to help her medically.
Director:
Charles Chaplin
Stars:
Charles Chaplin,
Virginia Cherrill,
Florence Lee
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 <col@imdb.com>
During the month-long shoot, Georgine Darcy (Miss Torso), "lived" in her apartment all day, relaxing between takes as if really at home. See more »
Goofs
When Thorwald returns home from one of his trips out in the rain lugging his suitcase, the camera (from Jeff's point of view) pans from a glimpse of Thorwald in the street, across Miss Torso's apartment where she is preparing to go to bed, to the second floor hallway where Thorwald is walking toward his apartment. This observed action takes only a few seconds - an impossibly short time frame for Thorwald to have entered his building through its front door, walked over to the stairwell, climbed the stairs to the second floor and then be seen walking along the second floor hallway. 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.
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 »
Alternate Versions
The film has been fully restored from original negatives in 1998 and a new negative has been created that resembles the original color scheme of the film. However, the first kissing scene had to be restored digitally because the source elements were in bad condition. See more »
To See You (Is to Love You)
(1952) (uncredited)
Music by Jimmy Van Heusen
Lyrics by Johnny Burke
Performed by Bing Crosby
Played when Miss Lonelyhearts has dinner with her imaginary guest See more »
One of Hitchcock's greatest masterpieces, "Rear Window" is a deep and entertaining classic with many strengths, and a little bit of everything. A fine suspense story is combined with romantic tension in the main plot, and there are numerous sub-plots, some humorous and some moving, all with many psychological overtones. The main characters are wonderfully portrayed and full of life. The apparently simple setting in an apartment complex is developed into a world filled with intriguing and sometimes unsettling possibilities, and this apparently average neighborhood comes to life with a wealth of lavish visual detail and interesting minor characters. It is the kind of film-making that (like many of Hitchcock's greatest movies) is very flattering to the viewer. The director assumes that his audience will pay close enough attention to appreciate the many subtleties with which he has filled the movie. It rewards both careful attention and repeated viewings, since there is much more here than merely a suspense plot, as good as that story is in itself.
For the first 30 minutes or so, we simply get to know the characters. Jimmy Stewart gives one of his best performances as a photographer recuperating from an injury, forced to spend several weeks staring out his apartment window at the minor dramas in the lives of his neighbors. Grace Kelly is ideal in the role of his perfect girlfriend, who can never find a way to break down Stewart's reserve. The study of their relationship would have made a good movie by itself. Almost every action and every word between them is filled with meaning, and what they see in the lives of others is an interesting reflection of the tensions and possibilities in their own present and future. Thelma Ritter is wonderful as a colorful, no-nonsense nurse who constantly sheds some light - sometimes unwanted - on what is happening between them. The action and suspense that occur later serves in large part as a catalyst that resolves some of the important issues between the two.
After we get to know the characters and their world, things start to happen, as Stewart becomes engrossed in some of the things he has seen. The ethical and moral concerns of meddling in others' affairs become intertwined with more urgent questions about what may have happened in those other apartments, and from then on the tension builds steadily. It leads up to a riveting climactic sequence filled with suspense, and made even more meaningful by our awareness of its deeper significance to the main characters.
There is much more that could be said, but you should see this for yourself. It is a classic that will be enjoyed not only by thriller fans, but by anyone who appreciates carefully crafted movies with a lot of depth.
126 of 164 people found this review helpful.
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One of Hitchcock's greatest masterpieces, "Rear Window" is a deep and entertaining classic with many strengths, and a little bit of everything. A fine suspense story is combined with romantic tension in the main plot, and there are numerous sub-plots, some humorous and some moving, all with many psychological overtones. The main characters are wonderfully portrayed and full of life. The apparently simple setting in an apartment complex is developed into a world filled with intriguing and sometimes unsettling possibilities, and this apparently average neighborhood comes to life with a wealth of lavish visual detail and interesting minor characters. It is the kind of film-making that (like many of Hitchcock's greatest movies) is very flattering to the viewer. The director assumes that his audience will pay close enough attention to appreciate the many subtleties with which he has filled the movie. It rewards both careful attention and repeated viewings, since there is much more here than merely a suspense plot, as good as that story is in itself.
For the first 30 minutes or so, we simply get to know the characters. Jimmy Stewart gives one of his best performances as a photographer recuperating from an injury, forced to spend several weeks staring out his apartment window at the minor dramas in the lives of his neighbors. Grace Kelly is ideal in the role of his perfect girlfriend, who can never find a way to break down Stewart's reserve. The study of their relationship would have made a good movie by itself. Almost every action and every word between them is filled with meaning, and what they see in the lives of others is an interesting reflection of the tensions and possibilities in their own present and future. Thelma Ritter is wonderful as a colorful, no-nonsense nurse who constantly sheds some light - sometimes unwanted - on what is happening between them. The action and suspense that occur later serves in large part as a catalyst that resolves some of the important issues between the two.
After we get to know the characters and their world, things start to happen, as Stewart becomes engrossed in some of the things he has seen. The ethical and moral concerns of meddling in others' affairs become intertwined with more urgent questions about what may have happened in those other apartments, and from then on the tension builds steadily. It leads up to a riveting climactic sequence filled with suspense, and made even more meaningful by our awareness of its deeper significance to the main characters.
There is much more that could be said, but you should see this for yourself. It is a classic that will be enjoyed not only by thriller fans, but by anyone who appreciates carefully crafted movies with a lot of depth.