Rear Window (1954) - News Poster

(1954)

News

Costuming Hitchcock: An Extract from Hitchcock’s Heroines by Caroline Young

Author Caroline Young has just released a fascinating new book entitled Hitchcock’s Heroines (published by Insight Editions). It celebrates and studies the women in Hitchcock movies; their influence, semblance and iconography. What’s more, Young also examines the role costume design plays with these women, both the characters and the actresses who played them, and how they can be interpreted as far more than just ‘icy blondes’. Here we have an extract of the book exclusively for Clothes on Film:

Kim Novak’s grey suit the colour of San Francisco fog in Vertigo, Grace Kelly as the too-perfect woman in Rear Window, and Janet Leigh’s black and white sets of underwear to indicate both good and evil in Psycho – these are just some of the classic imagery of Alfred Hitchcock’s films, where the style and elegance of his leading lady was carefully planned.

Hitchcock was meticulous about the visuals,
See full article at Clothes on Film »

A24 Delayed ‘Under the Silver Lake’ Until December — and It’s Another Smart, Radical Move for the Distributor

On Friday morning, with little fanfare, A24 announced that David Robert Mitchell’s sprawling film noir, “Under the Silver Lake,” would no longer be released June 22. Instead, it’s been pushed to December 7. Nor was the company interested in discussing the six-month time shift. A24 spokeswoman Nicolette Aizenberg only responded to our query with a cryptic email: “Indeed we moved the date.”

However, in a company known for smart and radical moves, this appears to be another one. Here’s why.

1. Cool Cannes reception

Mitchell had plenty of reasons to be grateful to the festival for supporting his first two films, “The Myth of the American Sleepover” and “It Follows,” which both played Critics Week. Positive reaction for his debut gave Mitchell the confidence to quit his editing job and focus on getting “It Follows” made. The festival “helped to make that happen,” he told me at an American Pavilion panel at Cannes.
See full article at Thompson on Hollywood »

A24 Delayed ‘Under the Silver Lake’ Until December — and It’s Another Smart, Radical Move for the Distributor

A24 Delayed ‘Under the Silver Lake’ Until December — and It’s Another Smart, Radical Move for the Distributor
On Friday morning, with little fanfare, A24 announced that David Robert Mitchell’s sprawling film noir, “Under the Silver Lake,” would no longer be released June 22. Instead, it’s been pushed to December 7. Nor was the company interested in discussing the six-month time shift. A24 spokeswoman Nicolette Aizenberg only responded to our query with a cryptic email: “Indeed we moved the date.”

However, in a company known for smart and radical moves, this appears to be another one. Here’s why.

1. Cool Cannes reception

Mitchell had plenty of reasons to be grateful to the festival for supporting his first two films, “The Myth of the American Sleepover” and “It Follows,” which both played Critics Week. Positive reaction for his debut gave Mitchell the confidence to quit his editing job and focus on getting “It Follows” made. The festival “helped to make that happen,” he told me at an American Pavilion panel at Cannes.
See full article at Indiewire »

Cannes Film Review: ‘Under the Silver Lake’

Cannes Film Review: ‘Under the Silver Lake’
When I tell you that “Under the Silver Lake,” David Robert Mitchell’s seductive and disturbing Los Angeles head-trip noir, is basically a sustained homage to David Lynch, and that Mitchell achieves the exact look and mood and pace and vibe he’s going for, you may think that it’s the kind of movie you’re going to get excited about. To a degree, you should. But the comparison comes with a major qualifier: There are moments when “Under the Silver Lake” evokes David Lynch the tranced-out Hollywood Babylon yarn-spinner of “Mulholland Drive” — but mostly, it’s an homage to the Lynch who gnaws on the weirder fringes of the everyday-surreal, the Lynch of “Lost Highway” or even, at times, the reboot of “Twin Peaks.”

“Under the Silver Lake” is a down-the-rabbit-hole movie, at once gripping and baffling, fueled by erotic passion and dread but also by the code-fixated opacity of conspiracy theory.
See full article at Variety - Film News »

Blu-ray Review: The ‘Burbs (Collector’s Edition)

When it comes to the movies that get replayed frequently in my house, Joe Dante’s The ‘Burbs is easily amongst the top five on that list. A darkly comedic send-up of suburban horror and Alfred Hitchcock’s Rear Window, similar to many other great films of its time, The ‘Burbs was vastly overlooked during its release, only to find vindication in the decades that followed, as fans have continually caught up with its brilliant hilarity. Shout Factory recently put together a gorgeous Collector’s Edition for The ‘Burbs and while I’m grateful for how wonderful it looks, I must say the real treat here for longtime fans is the workprint version of the film, which is endlessly fascinating for those of us who know the theatrical version inside and out. And that’s what I’m going to be digging into for most of this review just because
See full article at DailyDead »

Amy Adams to Star in Thriller 'The Woman in the Window'

Amy Adams to Star in Thriller 'The Woman in the Window'
Amy Adams is set to star in The Woman in the Window, a thriller that Darkest Hour helmer Joe Wright will direct for Fox 2000.

With a nod to the Alfred Hitchcock classic Rear Window, the source book, written by A.J. Finn, told of a child psychologist with severe agoraphobia (and a penchant for mixing alcohol with her medication) who hasn’t left her house in months. The woman witnesses a horrible crime involving a new neighboring family but no one, including the police, will believe her. And she has doubts herself.

The Woman in the Window is one of the...
See full article at The Hollywood Reporter - Movie News »

10 Things You Didn’t Know about “Rear Window”

Rear Window is a movie that’s kind of simple in that it sets up the idea of someone murdering his wife and disposing of her and someone having suspected him of it. Jefferies knows, or guesses, that Thorwald is someone to be leery of and soon enough drags everyone he knows into the act only to see them slowly but surely drop feet first into the mania he’s created. The only redeeming quality is that he’s absolutely right about his neighbor and almost has to die in order to prove it. Fortunately the movie has a happy ending as the

10 Things You Didn’t Know about “Rear Window”
See full article at TVovermind.com »

Joe Wright to direct The Woman in the Window

Atonement and Darkest Hour director Joe Wright has found himself a new project, with Variety reporting that he will helm an adaptation of A.J. Finn’s bestselling novel The Woman in the Window.

The thriller follows “the reclusive Dr. Anna Fox, who spends her days holed in in her New York City brownstone, fortifying herself with too much wine, binge watching old movies, and spying on her neighbors. In the “Rear Window” vein, Anna eventually witnesses something she shouldn’t while keeping tabs on the Russell family, the seemingly picture perfect clan that lives across the way.”

Pulitzer Prize-winning author Tracy Letts (August, Osage County) is set to pen the adaptation, while Scott Rudin (No Country for Old Men) and Eli Bush (Lady Bird) are producing.

Wright – whose other credits include Pan, Hanna and Anna Karenina – is also attached to direct an adaptation of John Williams’ Stoner, which has Casey Affleck
See full article at Flickeringmyth »

Film Review: ‘Number 37’

It’s very tempting to describe — but totally unfair to dismiss — Nosipho Dumisa’s “Number 37” as a well-researched master’s thesis by a student of Alfred Hitchcock. Dumisa, an award-winning South African writer-director making her feature filmmaking debut, has brazenly borrowed from “Rear Window” for her scenario about an incapacitated petty criminal who views a murder in an apartment across the way from his. And she doesn’t stop there: Even her title is a wink-wink, nudge-nudge allusion to two other Hitchcock films: “Number 13,” his famously unfinished 1922 directorial debut, and “Number Seventeen,” a minor 1932 melodrama about thieves who pick the wrong place to stash their loot.

But don’t let any of that keep you away. Far more substantial than a run-of-the-mill Hitchcock homage, “Number 37” is richly satisfying on its own terms as a singularly crafty and strikingly well-crafted thriller that signals the arrival of a promising filmmaking talent. And
See full article at Variety - Film News »

Most Likely to Murder Review: Mystery Saves Mundane Comedy

Most Likely to Murder Review: Mystery Saves Mundane Comedy
There have been quite a few movies over the years that deal with the guy who peaked in high school. That's what Most Likely to Murder, which recently made its debut at SXSW, is on the surface, but there's a murder mystery to deal with beneath that helps set it apart from others that have arrived before it. While it doesn't ever venture far enough into horror territory to be truly categorized as a horror/comedy, the thriller elements, which nod to classics from directors like Alfred Hitchcock, help breathe some extra life into what would otherwise be a pretty average sketch-comedy-type funny flick.

Most Likely to Murder centers on Billy (Adam Pally), who comes back home after his parents decided to sell his childhood home and retire. Once the coolest kid in high school, he comes back to his hometown 15 years later to find he's no longer cool and
See full article at MovieWeb »

‘Escobar’s’ Diego F. Ramirez, Carlos Moreno, Laura Mora Preparing TV Slate (Exclusive)

Guadalajara, Mexico — At the 33rd Guadalajara Festival to present Laura Mora’s multi-awarded thriller “Matar a Jesus,” Colombian producer Diego F. Ramirez of 64-a Films is drawing on his experience in producing hit TV series “Escobar, The Drug Lord,” which employed 17,000 extras, for Caracol TV, to develop TV projects with Carlos Moreno and Mora.

Ramirez’s plans is to have some four projects developed by May or June this year. Aside from directing episodes of “Escobar” and Netflix-Univision series “El Chapo,” Moreno also directed a 10-episode web series for France’s Canal Plus and Spain’s Movistar + , “Blanca,
See full article at Variety - TV News »

‘Escobar’s’ Diego F. Ramirez, Carlos Moreno, Laura Mora Preparing TV Slate (Exclusive)

‘Escobar’s’ Diego F. Ramirez, Carlos Moreno, Laura Mora Preparing TV Slate (Exclusive)
Guadalajara, Mexico — At the 33rd Guadalajara Festival to present Laura Mora’s multi-awarded thriller “Matar a Jesus,” Colombian producer Diego F. Ramirez of 64-a Films is drawing on his experience in producing hit TV series “Escobar, The Drug Lord,” which employed 17,000 extras, for Caracol TV, to develop TV projects with Carlos Moreno and Mora.

Ramirez’s plans is to have some four projects developed by May or June this year. Aside from directing episodes of “Escobar” and Netflix-Univision series “El Chapo,” Moreno also directed a 10-episode web series for France’s Canal Plus and Spain’s Movistar + , “Blanca,” toplined by Carlos Bardem, a lead in Peter Webber’s “Pickpockets” on which 64A Films provided production services.

Winner of the audience prize at the recent Cartagena Festival, Mora co-helmed all episodes of “Escobar” with Moreno, among her TV credits.

“We have been in meetings with the likes of Netflix,
See full article at Variety - Film News »

'Number 37': Film Review | SXSW 2018

If you’re going to steal, steal from the best. That certainly applies to South African writer-director Nosipho Dumisa, who takes the premise of one of her favorite films, Alfred Hitchcock’s voyeuristic man-in-a-wheelchair thriller Rear Window (1954), and gives it a grittier, much more sanguine spin in her debut feature Number 37. Would that her lead character, Randal Hendricks (Irshaad Ally), followed the same advice. He just borrows and takes from the worst of the worst: First from a loan shark, Emmie (Danny Ross), whose interest charges on late payments are of the life-ending variety. And second, from a bunch of...
See full article at The Hollywood Reporter - Movie News »

‘Number 37’ SXSW First Look: Looking Out The Rear Window In Cape Town

Exclusive: With SXSW winding its way to Friday’s opening night for the 2018 edition, here comes the first look at an intriguing South African crime thriller playing the the Narrative Feature section. It’s Number 37, the feature written and directed by Nosipho Dumisa in her feature debut. The gritty pic bows Saturday at the Alamo Ritz. The plot of the Afrikaans-language pic is a homage to Hitchcock’s Rear Window and centers on Randall, a low-level criminal recently…
See full article at Deadline Movie News »

Berlin: Behind the Scenes With Guy Maddin’s ‘Accidence’

Berlin: Behind the Scenes With Guy Maddin’s ‘Accidence’
Packing at least a feature film’s worth of action into a sleek and compulsively rewatchable nine minutes, “Accidence” is a witty new short from Guy Maddin, Evan Johnson and Galen Johnson. The directing trio behind irreverent and affectionate “Vertigo” homage “The Green Fog,” which played in Berlin accompanied by the world premiere of “Accidence,” takes their inspiration from a different Hitchcock classic this time. With the film unfolding as one unbroken take that, at the fullest expanse of its creeping zoom-out, frames thirty balconied apartments in which dramas both mysterious and mundane unfold, it is most redolent of a Winnipegian take on “Rear Window.”

But with Toronto-based musician Ensign Broderick providing the glitchy, melancholic torch song that plays throughout, and with its looping, time-defying structure, it also has the feel of an art-project music video, like Garth Jennings’ famous spot for Rem’s “Imitation of Life.” Abounding in inventive visual detail, and littered
See full article at Variety - Film News »

Carly Chaikin, Samara Weaving Join Thriller ‘Last Moment of Clarity’

Carly Chaikin, Samara Weaving Join Thriller ‘Last Moment of Clarity’
“Mr. Robot” star Carly Chaikin and “Three Billboards Outside Ebbing, Missouri” actress Samara Weaving have joined Brian Cox and Udo Kier in the independent thriller “Last Moment of Clarity.”

Production is underway on “Last Moment of Clarity,” the debut film of writer/director brother duo Colin and James Krisel. Andrew LevitasMetalwork Pictures is producing, with his Rogue Black shingle financing. Stephen Israel and Allan Loeb are also producing.

The story centers on a man played by Zach Avery who witnesses the murder of his fiancée, portrayed by Weaving, in Brooklyn and flees to Paris to forget. Three years later, he finds himself a paranoid drifter, until one day at a Parisian cinema, he spots an actress who, to his mind, looks uncannily like his dead ex-love.

He returns to Los Angeles, reconnects with his old friend (Chaikin), and together they try to avoid the Albanian mafia while uncovering the truth about his fiancée.

“It is a privilege
See full article at Variety - Film News »

Beauty vs Beast: To Catch a Hitch

Jason from Mnpp here with this week's edition of "Beauty vs Beast" -- this Thursday will mark the birth of one of the greatest movie stars of all time, Mr. Cary Grant. His filmography of course reads like a dream with classics of all stripes under his belt, but it's his four collaborations with Alfred Hitchcock (Notorious, North By Northwest, Suspicion and To Catch a Thief) that I want to focus in on today because I want to force a question upon us, an unnecessary frivolous question that nevertheless nags at my frivolous brain - know who else starred in multiple masterpieces for Alfred Hitchcock? Jimmy Stewart, who made The Man Who Knew Too Much, Rear Window, Rope, and Vertigo. And I think you know where I am going with this now... Which is the better Hitchcock Star? Choose!

web polls

Previously As with all things Three Billboards related last
See full article at FilmExperience »

Shoot This Now: Why the Anti-Hitchcock Story ‘The Living Room’ Should Be a Movie

  • The Wrap
In the new edition of TheWrap’s “Shoot This Now” podcast, Matt Donnelly and I examine “The Living Room,” a story about a woman who watches a younger couple in their apartment through her window. That may sound like the setup for a Hitchcock story in the vein of “Rear Window.” But “The Living Room” — written by Diane Weipert and produced by Briana Breen for the outstanding “Love + Radio” podcast — takes a very unexpected, emotional turn. It’s a story, ultimately, about love, empathy, aging and the profound significance of curtains. Also Read: Ever Thought 'This Should Be a Movie'? You Might...
See full article at The Wrap »

Picturehouse exec to join streaming service Mubi (exclusive)

Jon Barrenechea to join Mubi as vp marketing from March 5.

Source: Ionut Dobre

Jon Barrenechea

Jon Barrenechea, formerly deputy director of marketing at Picturehouse Cinemas, will join film art-house streaming service Mubi as vp of marketing on March 5, 2018.

In December 2017, Mubi struck its first multi-year, multi-territory studio deal, with NBCUniversal. The eleven territory deal includes films such as Lust, Caution, Being John Malkovich, Touch of Evil, Videodrome, Mall Rats and Hitchcock titles Vertigo, Rear Window, Rope, Frenzy and Shadow Of A Doubt.

The streaming service recently theatrically released titles such as Berlinale Golden Bear winner On Body & Soul from director Ildikó Enyedi and Silver Bear winner Félicité, both shortlisted for the Oscars Best Foreign Language Film category. It is also teaming up with Drive director Nicolas Winding Refn on a new Mubi ident.

Whilst at Picturehouse, Barrenechea opened Duke’s At Komedia in Brighton, and went on to become project development manager working across the build of new cinemas
See full article at ScreenDaily »

'Okka Kshanam' Review: Great moments in a predictable film

TollywoodSirish’s improved dialogue-delivery and body language make this his best Telugu film to date. Karthik KeramaluOkka Kshanam made me think about the importance of a minute. What could a minute do in a person’s life? In case of medical emergencies, every second counts. On the face of it, Okka Kshanam seems like a romance film that absorbs the qualities of a science fiction thriller. But, it’s actually the other way around. Director Vi Anand, who turned a supernatural tale on its head with a romantic twist (Ekkadiki Pothavu Chinnavada), is back with a film that takes a leaf out of parallel happenings. A couple of years ago, Selvaraghavan made a Tamil film named Irandaam Ulagam. It was a movie based on the concept of parallel universes. Everything about the film felt wrong. He took a wonderful subject and destroyed it. So, in every sense, Irandaam Ulagam was trashy. Now, Anand walks a similar path with his latest thriller. However, we aren’t transported to another universe here. We are, instead, taken to two women whose lives look like the copies of the same book (you can say different editions though). The initial portions where Jyotsna (Surbhi) peeps into the rooms of Swathi’s (Seerat Kapoor) apartment are directly borrowed from Alfred Hitchcock’s 1954 thriller Rear Window. Even in the Hollywood movie, the protagonist (played by James Stewart) is hurt and can’t walk around much. As a result, to cure boredom, he watches his neighbours through his window. Jyotsna does the same thing in the Telugu movie. She’s seen with a cast on her ankle in one of her first scenes. And, then, a couple of minutes later, when Jeeva (Allu Sirish) questions her about her routine, she introduces him to the world of people-watching via her balcony. Srinivas Avasarala, who usually stars as the comedy-guy, takes a U-turn to play a supporting role which has shades of various colours, in Okka Kshanam. His brooding looks are as good as his funny lines. The exchanges between Srinivas and Sirish are what make the film work to a large extent since this sets the tone for the second-hour-and-twenty-minutes. The character that actually sells the film to us is played by Jayaprakash. He appears as a professor who explains the theory behind parallel lives and gives us examples of Abraham Lincoln and John F. Kennedy. By the time the movie reaches this point, we’ve already seen many interesting moments related to the two main screen couples – Sirish and Surbhi; Srinivas and Seerat. We’re waiting to see what’s going to happen next. Just like Sirish and Surbhi in the movie, we’re shifting in our seats. That’s when the film takes an insipid shape and shifts to action mode. Should the hero bash the goons and save the day? Is that what a “commercial movie” is all about? The action sequences of the last half-hour are not at all required. Still, Sirish’s improved dialogue-delivery and body language make this his best Telugu film to date. Surbhi and Seerat, too, put in convincing performances. Nevertheless, the best asset of Okka Kshanam is wrapped in its writing which leaves us a drab ending despite the great moments in the film.
See full article at The News Minute »
An error has occured. Please try again.

See also

Showtimes | External Sites