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Rear Window (1954)

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

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Writers:

(screenplay), (based on the short story by)
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Top Rated Movies #45 | Nominated for 4 Oscars. Another 6 wins & 8 nominations. See more awards »

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Cast

Complete credited cast:
... L.B. 'Jeff' Jefferies
... Lisa Carol Fremont
... Det. Lt. Thomas J. Doyle
... Stella
... Lars Thorwald
... Miss Lonelyhearts
... Songwriter
Georgine Darcy ... Miss Torso
... Woman on Fire Escape
... Man on Fire Escape
... Miss Hearing Aid
Rand Harper ... Newlywed
Irene Winston ... Mrs. Emma Thorwald
Havis Davenport ... Newlywed
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Storyline

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>

Plot Summary | Plot Synopsis

Taglines:

In deadly danger...because they saw too much! See more »

Genres:

Mystery | Thriller

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

September 1954 (USA)  »

Also Known As:

Alfred Hitchcock's Rear Window  »

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Box Office

Budget:

$1,000,000 (estimated)

Opening Weekend USA:

$234,258, 2 October 1983, Limited Release

Gross USA:

$36,764,313

Cumulative Worldwide Gross:

$36,888,916
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

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

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Alfred Hitchcock liked working with James Stewart, especially in comparison to his other most frequent star, Cary Grant, who was fussy and demanding. Stewart, in Hitchcock's eyes, was an easy-going, workmanlike performer. But Wendell Corey, who appeared with Stewart in several films, said the actor also had a "whopping big ego" and could intimidate even Hitchcock by out-shouting and out-arguing him if he thought a scene wasn't going well. "There was steel under all that mush," Corey said. See more »

Goofs

At around 52 minutes: When Jeff's nurse goes to the door saying she's going to find out the name of the freight carrier that is taking off with the trunk, someone who sounds nothing like James Stewart has dubbed him with the peculiar sounding line "I'll keep an eye on the alley". Jimmy Stewart is holding the binoculars over his mouth but we can see that he's not moving his lips! Prior to that, when he says "don't do anything foolish" his lips are still moving after the audio is heard. 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?
[...]
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Connections

Referenced in Supernatural: The Girl Next Door (2011) See more »

Soundtracks

Balettmusik, nr 2, G-dur.
Composed by Franz Schubert
[from "Rosamunde, Princess of Cyprus", a play by Helmina von Chézy]
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Frequently Asked Questions

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User Reviews

 
The Master In Control
8 April 2001 | by See all my reviews

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.


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