Download Rear Window
In 1950-something New York, an adventuresome free-lance photographer finds himself confined to a wheelchair in his tiny apartment while a broken leg mends. With only the occasional distraction of a visiting nurse and his frustrated love interest, a beautiful fashion consultant, his attention is naturally drawn to the courtyard outside his "rear window" and the occupants of the apartment buildings which surround it. Soon he is consumed by the private dramas of his neighbors lives which play themselves out before his eyes. There is "Miss Lonelyhearts," so desperate for her imaginary lover that she sits him a plate at the dinner table and feigns their ensuing chat. There is the frustrated composer banging on his piano, the sunbathing sculptress, the shapely dancer, the newlyweds who are concealed from their neighbors by a window shade, and a bungling middle-aged couple with a little yapping dog who sleep on the fire escape to avoid the sweltering heat of their apartment. ...And then there is the mysterious salesman whose nagging, invalid wife's sudden absence from the scene ominously coincides with middle-of-the-night forays into the dark, sleeping city with his sample case. Where did she go? What's in the trunk that the salesman ships away? What's he been doing with the knives and the saw that he cleans at the kitchen sink?
|James Stewart||as L. B. Jefferies|
|Grace Kelly||as Lisa Carol Fremont|
|Wendell Corey||as Det. Lt. Thomas J. Doyle|
|Thelma Ritter||as Stella|
|Raymond Burr||as Lars Thorwald|
|Judith Evelyn||as Miss Lonelyheart|
|Ross Bagdasarian||as Songwriter|
|Georgine Darcy||as Miss Torso|
|Sara Berner||as Wife living above Thorwalds|
|Frank Cady||as Husband living above Thorwalds|
|Jesslyn Fax||as Sculpting neighbor with hearing aid|
|Rand Harper||as Newlywed man|
|Irene Winston||as Mrs. Anna Thorwald|
|Havis Davenport||as Newlywed woman|
|Marla English||as Girl at songwriter's party|
"Rear Window" comes close to being the perfect film that Hitchcock
illustrates almost all of his great ability ...
Hitchcock demonstrated in the "Rear Window", which is a big voyeur that
He likes to spy on his characters makes every spectator in a voyeur
Obligando the audience to see their hero everything from the point of view ...
James Stewart stand in his Manhattan apartment with two bedrooms
Leg broken ... He spends his time spying on his neighbors through
round window in an orgy of voyeurism ...
Speaking of technical problem, "Rear Window" is Hitchcock
Prototype ... Most of the film is limited to shots of a set ... It also
, especially theater, as it takes place in one room ...
Hitchcock forces constraints himself, as he did in "Lifeboat" when
They shot entirely on a limited group, only on a boat ... And in "Rope"
(His first Technicolor film), where the only scene of the
Production had only walls and the furniture ...
Having restricted their movements, Hitchcock required to be ingenious
In order to keep alive the curiosity ... He built a courtyard of the realists
Apartments people in it, and the restriction becomes a
Power and technique of a fascinating example of what he decides
The word "pure cinema" .
Hitchcock tracks from the camera through the windows ... Never will
Within apartments ... Never see close-ups of the characters ... We
You can only see what you see ... Stewart sorry we are seeing people
Through a window rather than in a Hitchcock movie ...
Uses no music ... We hear natural sounds,
Occasional live music played all over apartments ...
"Rear Window" describes Hitchcock at his best for the way it operates in
Several levels, however, hides its own complexity ... Stewart, closely linked in
The pressure of his high society girl who loves him and wants to marry him ...
All they see is that in connection with this problem ... He avoids
To discuss with their marriage, though he himself does not seem
Taking account of this ...
All the time, the people in the 31 apartments which can be seen live out their lives
Shortly… The tormented middle-aged bachelor,
Composer / Music, the couple who beats the heat by sleeping in a
escape in case of fire; newlyweds and lovers, the tragic "Miss Lonelyhearts"
And their fantasies of gentlemen callers entertaining;
Hearing sculptor working day and night, the vivacious and sexy dancer
Blonde "Miss Torso" who makes suggestive routines in bikini tops
And, most importantly, the hysterical "woman's voice" - in bed - and
His grouchy fed by husband, a seller of jewelry ...
One of the big shots "reveals how involved Stewart has become his
Miss Lovelyheart lives when - in his romantic dinner for two - raises
His glass in a toast with imaginary her lover and raises his glass as Stewart
The courtyard urban setting is the city night spot of "Rear Window,"
One night the city shattered by the sharp sound of a strong cry and female
Sound breakage of glass ...
Hitchcok Stewart presents you see (or think you see) what is
Powerless to stop ... The seller strangely insidious
Stewart attracts attention ... His Passtime becomes an obsession after he
Suspected who has murdered his wife and sick
notices especially when it lacks ... Ravishing his girlfriend (Grace Kelly) and
His nurse (Thelma Ritter) to warn voyeurism is a crime and is
Dangerous ... But Stewart persists, the time it became ... This perfectly
Explain your specific use of a huge zoom lens to make your
Peeping as the murderer which monitors the activities of ... The murderer and
His wife became the object of parody of Stewart with the "too perfect, too
Talent, too sophisticated," Grace Kelly ...
"Rear Window" is visually very strong ... Hitchcock designs of the film in
That way so that their view is our view ... He manipulates our emotions
Because he knows perfectly well their work ... He has synchronized in film
His mind ... Shooting and editing are, for him, a simple mechanical
Phase ... Creativity has taken place before all ...
The first shot of "Rear Window" is a perfect example of this reality -
As his typical of many first shots - for the way he conveys visually
Everything the complex to the audience ...
Hitchcock is a master at using his camera to create suspense ... Like
Stewart, we are restricted in movements, stalled inside the
Flat, immobile, trapped in a room in which we are anxious and
Uncertain ... There is no way we can warn the results ... This is what
'Thriller' is all about non-surprise ... One effect of the intense and
Nursing expectation, without any help, in the state of knowing that we
They have, but the characters ... And of course, all this great
order is only created by the visual media ...
Stewart gives the performance of his life to behave taste ...
Hitchcock was the perfect character: a voyeur by profession, a
Without photo journalist who becomes trapped in a terrifying
When you see the film, feeling the looming 'look' of the murderer
Mal look in the eyes ... And do not forget Alfred Hitchcok in capturing
His usual cameo appearance, this time repairing a watch ... Enjoy!
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