Download Rear Window
(mystery, thriller)
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?
actors:
| 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 |
Alfred Hitchcock
rating:8.70
Ah is a film that IMDB's Top 20, and has good reason to be. For
starter let's look at the simple premise - James Stewart is
LB Jeffries, a photographer who is currently recovering from an injury in
assignment. With his broken leg that is trapped in his apartment,
with nothing better to do than spy on their neighbors and receive visits from his girlfriend, Carol Fremont
Lisa (Grace Kelly), his friend Wendell official, and his
nurse, Stella
. Jeffries observes the coming and goings of individual departments
can see him (Rear Window of his apartment) and is one of them - a
Raymond Burr - who drew attention for her. Could it be that men
has committed some heinous crime? Let's find out.
One of the beautiful things about the film is its superb use of
location.
The entire movie, bar a couple of brief scenes, is set in an apartment.
This seems claustrophobic, but Hitchcock never inhibits us from this type -
allows us to escape across Jeffries binoculars and cameras, and its
roving camera swoops to see what they see the characters (but never,
fortunately, nothing more than that - this is the way to make suspense!). The
set design is wonderful - the apartment is just the right size and is well established
. However, the praise is true for all other departments visible
for
Jeffries - a real livable conjunction with multiple stories where the characters
can be observed only when passing through their own windows (yes, no < br> carefully curtain). There is a sense of individuality in the past
to each house, even if only we can barely see elements of each. This is
helped by a pleasant range of different characters who inhabit each and
go about their daily lives - there is a mini-soap opera contained in
movie, all
those observed at a distance. Excellent material.
Acting? It's fantastic. There are some good depth to the characters here,
with them as real feeling of real people instead of one-dimensional spot
tags. Stewart is very competent in this type of paper - who was born in
-
and Kelly shows that it is more than just a pretty face, the management of its effuse
both as a matter of grace (* Groan *) and steel. Even the supporting characters are good
as Stella (which has a wickedly black sense of thinking that
hilarious). Why is it so incredible is that the characters can be seen from a distance
in other departments (and those who never actually interact
a) have so much depth as most main characters in the movies today.
Excellent script and acting in this movie.
Since he praised the series Hitchcock location and camera work, so no
prattle on around him more. Doing a job here and stellar,
in my opinion, this is the best piece of work that is done (I've seen). It
virtually flawless and you're never disappointed (or boring). Well done.
It is a pity that lost out on an Oscar (although it was tough competition
this year with `On the Waterfront ').
"Rear Window" is a great example of how to succeed in point
acting, script and direction and not feel the need for a lot of swear words and violence
free. Considered a classic, and deservedly.
9.1/10
"Rear Window" comes close to being the perfect Hitchcock film that illustrates
nearly all his great ability ...
Hitchcock demonstrated in "Rear Window" is a great voyeur who likes to spy on
his characters making each viewer into a voyeur,
forcing the audience to see everything his hero's point of view ...
James Stewart will be held in Manhattan his two-bedroom apartment with a broken leg
... The spends his time spying on his neighbors through a back window
orgy of voyeurism ...
Speaking of technical problem, "Rear Window" is Hitchcock
prototype ... Most of the film was shot on a set ... It is also confined
theater in particular, already taking place in a room ...
Hitchcock forces limitations in itself, as it did in "lifeboat" when
fired its entirety to a restricted group, only one boat ... And in "Rope"
(his first film Technicolor), where the only scene of the
production had only walls and furniture ...
After having their movements restricted, Hitchcock is required to be ingenious
in order to keep alive the curiosity ... The yard builds a realistic
apartments with people in it, and the restriction becomes a
power and technique of a fascinating example of what he chooses to
call "pure cinema".
Hitchcock camera tracks across the windows ... Never will
inside the apartments ... Never close-ups of the characters ...
We can only see what he sees Stewart ... We feel we are seeing people
through a window rather than in a movie ...
Hitchcock does not use any kind of music ... We hear natural sounds,
occasional live music played in nearby apartment ...
"Rear Window" Hitchcock at his best described by the way it works on several levels
, however, hides its own complexity ... Stewart, closely linked to
pressure from the high society of his girl who loves him and wants to marry him
... Everything you see out in conjunction with this problem ... Avoiding
to discuss marriage with her, although he himself does not seem
realize this ...
All the time, people in the 31 apartments that could see live out their little
… Life tormented middle-aged bachelor,
composer / singer, the couple striking heat sleeping in a
Fire escape; newlyweds and lovers of tragic "Miss Lonelyhearts"
their fantasies and entertainment gentlemen callers
the hearing sculptor working around the clock,
vivacious and sexy blonde dancer "Miss Torso" that makes suggestive routines in bikini tops
and, most importantly, the hysterical "pressing wife" - in bed - and his
Grouchy fed-up husband, a seller of jewelry ...
One of the big shots "reveals the extent to which Stewart has become involved in your life when Miss
Lovelyheart - in his romantic dinner for two -
raises his glass in a toast imagination with his mistress and his
Stewart poses as well as glass ... The configuration
urban backyard is the city night spot "Rear Window,"
a night city shattered by the sharp sound of a strong cry and women
sound of breaking glass ...
Hitchcok Stewart presents he sees (or thinks he sees), which is
powerless to stop ... The seller strangely insidious
Stewart attracts the attention ... His Passtime becomes an obsession after he
suspected of having murdered his wife sick and especially when
warnings that lacks ... Ravishing his girlfriend (Grace Kelly) and
his nurse (Thelma Ritter) warn him that voyeurism is a crime and is
dangerous ... However, persists Stewart, who eventually became ... This
perfectly explain his specific use of a large zoom to make your
Peeping as he monitors the activities of the murderer ... The
murderer and his wife became the subject of Stewart parody with "too perfect, too
talented, too sophisticated," Grace Kelly ...
"Rear Window" is visually very strong ... Hitchcock designs of the film in
so that his view is our point of view ...
Manipulating our emotions because he knows his job perfectly ... The film is in sync
his mind ... Shooting and editing are, for him, a simple mechanical
stage ... Creativity has carried out all before ...
The first photo of "Rear Window" is a perfect example of this reality - its first typical
as many shots - for the way he conveys visually the entire complex
the audience ...
Hitchcock is a master at using his camera to create suspense ... Gustar
Stewart, who merely movements, stalled inside the
floor, motionless, stuck in a room in which we are anxious and uncertain
... There is no way we can warn the results ... This is what
"suspense" is not-surprise ... One effect of intense and prolonged
hope, lacking help everyone in the state of
knowledge that we possess, but not the characters ... And, of course, all this great
suspense is created only by 'visual' means ...
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 terrible
... If
When you see the film, feels the threat 'see' murderer of sight
evil eye on you ... And do not forget to catch Alfred Hitchcok
his usual cameo appearance, this time repairing a watch ... Enjoy!
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See also: Mystery: Basic
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