8.5/10
382,896
727 user 147 critic

Rear Window (1954)

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

Director:

Alfred Hitchcock

Writers:

John Michael Hayes (screenplay), Cornell Woolrich (based on the short story by)
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Popularity
1,381 ( 392)

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Top Rated Movies #44 | Nominated for 4 Oscars. Another 6 wins & 8 nominations. See more awards »

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Cast

Complete credited cast:
James Stewart ... L.B. 'Jeff' Jefferies
Grace Kelly ... Lisa Carol Fremont
Wendell Corey ... Det. Lt. Thomas J. Doyle
Thelma Ritter ... Stella
Raymond Burr ... Lars Thorwald
Judith Evelyn ... Miss Lonelyhearts
Ross Bagdasarian ... Songwriter
Georgine Darcy Georgine Darcy ... Miss Torso
Sara Berner ... Woman on Fire Escape
Frank Cady ... Man on Fire Escape
Jesslyn Fax ... Miss Hearing Aid
Rand Harper Rand Harper ... Newlywed
Irene Winston Irene Winston ... Mrs. Emma Thorwald
Havis Davenport 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:

See It! - If your nerves can stand it after PSYCHO! (1962 re-release) See more »

Genres:

Mystery | Thriller

Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

September 1954 (USA) See more »

Also Known As:

Alfred Hitchcock's Rear Window See more »

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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

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Color:

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

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The 35mm camera that James Stewart holds with the huge telephoto lens attached is an early 1950s Exakta VX (also known as the "Varex" outside the U.S.) manufactured in Dresden, (east) Germany. The lens is a 400mm Kilfitt. The Paramount Pictures Property Department purposely covered over the name with black masking tape. See more »

Goofs

When Lisa lowers Jeff's window shades for the evening, all of the shades are shown as being up at first. Lisa only lowers the shades on the front windows and the right-hand side window. She does not lower the left-hand window shade, and it remains up. However, when she comes out of the bathroom to model her nightgown for Jeff shortly afterwards, the camera angle now shows the left-hand shade being down too when no one was shown lowering it. 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

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 »

Connections

Referenced in Honest Trailers: Every Christopher Nolan Movie (2018) See more »

Soundtracks

Martha, oder Der Markt zu Richmond
(1847) (uncredited)
Music by Friedrich von Flotow
Libretto by Friedrich Wilhelm Riese
See more »

Frequently Asked Questions

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User Reviews

 
In the mid-fifties, Hitchcock brought remarkable suspense by reverting to the logic of a silent film (with an observer behind the lens as the hero)
15 January 2004 | by MisterWhiplashSee all my reviews

Many reviewers and critics have commented on Alfred Hitchcock's theme of the voyeur in Rear Window (the mere thought of a voyeur in a suspense film conjures up images from other classic Hitchcock films), and I felt that voyeuristic bug as well. But I realized something that I hadn't thought of as I watched it for the first time- this is a return for Hitchcock to his skills as a master of silent-film chills. As L.B. Jeffries (Jimmy Stewart in one of his most infamous performances) is in his wheelchair viewing out one perspective to other inhabitants in the apartment, the audience views right along-side him. So, for more or less 50 percent of the film, the only sounds we hear are the sounds of mere realism, as Hitch's camera keeps a close eye on things.

As the thrills build in the second hour of the film there is considerably more dialog than the first hour. This could, and occasionally does, present a challenge for the audience member that could either be accepted & payed off or resented- can one sit back and just watch things unfold as in a film from the 20's? Personally, the experience of seeing these events unfold and increase was near electrifying. Along with Stewart's performance, which ranges from amusing to terrified, compelling to frightened (i.e. Hitch's 'everyday man'), there's Grace Kelly as Lisa, who carries her own beauty & inner conflicts, and Raymond Burr as Thorvold, who could have things going a little better with his wife.

If we empathize with Jeff, it's because we become as much apart of his mind-set/POV as he already is, and that's the ticket to the film's true success. Not only is there a magnetic kind of skill to which Hitchcock (and cinematographer Robert Burks) presents us with the apartments' supporting and minor characters and how their fates are played out against the enclosed backdrop, but the psychology of Jeff becomes parallel, or against, to the audience's. This is the story of one man's temptation and compulsion to be involved with those he can see (much like movie-goers have with any given film), and how perception of the realities around him become ours. Rear Window may have become dated for some movie-goers, particularly since the theme has been played on by other movies and TV shows (like The Simpsons for example). Yet there is a certain effectiveness to it all, even in the earlier scenes, that holds an edge over imitators. A+


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