As Carl Black gets the opportunity to move his family out of Chicago in hope of a better life, their arrival in Beverly Hills is timed with that city's annual purge, where all crime is legal for twelve hours.
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 <email@example.com>
The scene in which Jeff speaks to his editor on the telephone was originally scripted to take place in the editor's office. In fact, Alfred Hitchcock filmed the scene with both James Stewart and Gig Young meeting outside of Jeff's iconic apartment. Ultimately, Hitchcock decided that the departure from the apartment would be too great of a distraction, and he used the audio from the completed scene for the telephone conversation which made the final cut. See more »
Jeff is watching Miss Lonelyhearts through the telephoto lens of his camera. She exits the building and enters the restaurant across the street. As soon as the waiter approaches her we suddenly see Thorwald appear. His appearance is closeup. However, when Thorwald enters his apartment, despite the fact that Jeff is still looking at him through the same telephoto lens, without having made any adjustments to it, now Thorwald appears much smaller than the closeup, but he is actually closer. 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 »
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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