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Crime, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
James Stewart as L. B. 'Jeff' 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 Lonelyhearts
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
Storyline: Professional photographer L.B. "Jeff" Jeffries 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.
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Intrigue is Simply Thrilling & Breathtaking!
HITCHCOCK AT HIS BEST! I loved Psycho and Strangers on a Train, but I have to say I believe this one is the masterpiece in my opinion. James Stewart is unbelievable, a truly tremendous actor. Can you imagine being stuck in your apartment watching your neighbors across the way? Yes, I'm sure we have all done this but not quite what Jimmy sees in this movie. Thelma Ritter was fantastic, a true gem. Grace Kelly as beautiful as ever, flawless, and the perfect girlfriend. This movie sure keeps me on the edge of my seat, even though I have seen it before. This flick is what makes Hitchcock the man he is. I always love to keep a watch for his signature appearance. And talk about a steamy match with Stewart & Kelly!
Great thriller
Alfred Hitchcock is without a doubt the king of suspense. I have been a fan of his for many years, so I knew I had to see this movie. Needless to say, I wasn't disappointed.


Jimmy Stewart is great as LB Jefferies, the cranky photographer who's wheelchair bound in his apartment with a broken leg. To pass the time, he begins playing Peeping Tom on his neighbors. Good thing there are some interesting characters around. There's the gorgeous ballerina, who loves prancing around in her undergarments, the party hardy pianist, the couple that sleeps on their fire escape (I love when it rains on them) and the volatile salesman with a bed stricken wife. Things get even more interesting when Jefferies starts to think the salesman has murdered his wife. He's going in and out of his place on a cold, rainy night, and the wife is no longer in bed, where did she go?

Jefferies asks for the assistance of friend and former Air Force buddy Detective Doyle (Wendell Corey), who unfortunately, thinks he's crazy. Not to worry. Even though he won't fully commit to her, Jefferies is able to enlist his beautiful, sociable, and all around perfect girlfriend Lisa (Grace Kelly) to do his dirty work. Being the fearless type, she's willing to take more risks than Jefferies imagines, a move that almost gets her killed and lands her in jail. Of course, Jefferies soon puts his own life at risk, which leads to the one action sequence in the movie (which is kind of cheesy and dated).

One thing that was unique about Rear Window is that the whole film was shot in the same location, from Stewart's apartment. Hitchcock, not only good with suspense, is also able to do some fascinating camera work. Those shots of Stewart holding his camera are innovative and show how talented he was. I have to say, I don't think movies like this could be made anymore, for it isn't action packed. The mood slowly builds up until you have the final confrontation. No high speed chases, explosions, anything of that nature, just old fashioned suspense. The acting by Stewart and Kelly is wonderful and they had a great on screen relationship, even if Stewart's character is oblivious to the idea of love (how could you be if you had a woman like Grace Kelly)?

If you're a person that loves blood and guts, plot twists, fast paced action, then do not see this movie. Many from Generation X and Y (which I am a part of) would be bored by this flick, but if you appreciate good film making and suspense, go see it, and you'll understand why Hitchcock gets so many accolades to this very day.
Hitchcock's tale of voyeurism !!!!
A photographer named L.B. Jefferies has broken his leg. With nothing to do throughout the day, he starts observing his neighbours from his window which leads him to grow more and more suspicious about one particular neighbour's behaviour which leads to extremely suspenseful consequences.

Clearly Hitchcock's theme for this film is voyeurism. We all have at least once watched someone from the window secretively. The thrill of observing people who are completely unaware of our peeping has always fascinated us. This very concept of intrusion of privacy has been the primary reason behind the success of the innumerable reality shows which have become so popular nowadays. The current scenario with reality shows makes Rear Window seem profound. The neighbourhood which is being observed by Jefferies is a representation of the whole society. There is the poor couple who struggle to get by,there is the rich lady who is tortured by her loneliness, there is the young ballet dancer who is trying to make her presence felt in the social scene, the musician who is desperate to achieve success with his talent, the old bickering couple and the young newlyweds.

James Stewart has a commanding presence as Jefferies. Everyone knows about Grace Kelly's looks, but what is great about this film is that Kelly is not there just to look beautiful. She is actually the one who does all the physical thrilling dirty work while Stewart remains attached to his wheel chair.

The screenplay by John Michael Hayes is absolutely brilliant. The whole story gets told from the point of view of Jefferies. This is a rare suspense thriller without any chases or thrilling action sequences. The movie depends completely on atmospheric tension. Hitchcock is not called the Master of Suspense for nothing. He shows how minimalistic filmmaking can also generate spine chilling moments of suspense. The film is grounded in realism. Although at first the other characters disapprove of Jefferies' obsession with keeping an eye on his neighbours, but gradually they also become addicted to this practice of voyeurism.

Rear Window is arguably Alfred Hitchcock's best film(which is saying a lot). The movie grabs your attention immediately and never lets got of it. It is an immensely engaging watch and a genuine masterpiece.
Note, death, humor, suspense and genius.
"Rear Window" might is not the best film of Alfred Hitchcock, but it's my favorite and I think impeccable, starting with the script that develops several different characters just showing a few minutes via a window, and the script shows the daydreams LB Jeffries, who is with a broken leg and kill the boredom observes its neighbors to notice a strange behavior ... no need to even say that the suspense in the film is even more amazing in the final 30 minutes, you can not even blink, and the best is that Alfred still put shades of humor in the film that fall very well. The picture is beautiful, without words, that vision for the buildings and their indiscreet windows has its own life, or look like a movie, it seems that Alfred Hitchcock filmed a building any in an American suburb, the soundtrack although not very participant in the film, she is accurate, the main plot the film will count through small steps the stories of several families, all very fast and complete, you feel the LB Jeffries himself, the performances are very good, although redundancy praise actors like James Stewart and Grace Kelly, the movie is great, mixing humor, romance, drama and suspense in a very effective way, I recommend any movie Alfred Hitchcock, but this, I place a starlet.

Sorry my English translator google.
Very Overrated
I saw this film and thought little of it. I thought that most of the story was... bad. A man believes one of his neighbors committed murder. Okay, so you call the police. COMMON SENSE!!!

But then, what if the police don't find evidence, or don't believe you? Then FORGET ABOUT IT!!!

But then, what if you decide to be stupid and, despite being in a wheelchair, decide to stop him ultimately by force and your camera's flash, which surprisingly holds him at bay long enough for help to get there after, of course, you are knocked off a low balcony that you would survive the fall from. SO the killer will get caught after all. Oh yeah, if I killed, I would let the witness survive and get caught.

No common sense was put into this. Without it, most movies aren't very good. This is no exception, and stands as a very overrated movie.
Amidst the illusion darkness is always present
Spoilers Ahead:

Hitch opens his masterpiece with his usual signature a seemingly normal human apartment complex with many different kinds of ways of being all smashed together apparently living together quite peaceably. The musician, Miss Torso, Miss lonely heart all communally existing in tenuous quiet though some early stress between thorwald and the sculptor shows even early warning signs that perhaps thorwald is a bit of a misfit. The byplay between Jefferies and Stella is not meaningless chatter. Stella argues that coupling should be largely unconscious while Jefferies argues for Hitch's old attacking point human rationality should guide people to form union. This is the view that Hitch always attacks in many of his works; like Kubrick he is not an adherent to the rationality of humans. The touch that marks great thrillers from lobotomized gore tests for those in a coma is present. Little oddities that begin very slowly and grow to mammoth heights. Thorwald is the anomaly something is wrong with Thorwald. It starts quite innocuously; he tells the sculptor lady to shut up or mind your own business.

This all happens behind the failing romance between Jefferies and Lisa. It is the foreground but recedes as more and more oddities by Thorwald switch it to scenery. Notice the grounds of the pending dissolution ontology or disparate ways of being; she is a high society fashion model, he is a serious photographer for magazines. Hitch always seems to be alluding here as in SHADOW OF A DOUBT that great tension between people like uncle charlie and traditional society are the source of disturbances. As Thorwald appears to be obviously cleaning up the apartment after killing his wife, hitch produces what appears to be a perfectly rational exposition from the detective dispelling all of the actors and viewers paranoia. Notice again, the idiot of the picture is the scientific rational detective while Jefferies and Lisa rely much more on emotional intuition. The detective in a very sexist manner stares a Lisa's undergarments with a sneer on his face for Jefferies that says what could not be uttered back then: you are not thinking with your brain letting some woman ensnare you within her feminine intuitive irrationality.

The look on each character's face Jefferies, Lisa and Stella when they are forced that within this idyllic 50's Americana scene lurks a murderer who is currently cleaning up after dismembering his sick wife is an exact parallel to SHADOW OF A DOUBT. Hitch enjoys giving us our happy little toys to play with then dropping a rattlesnake in the middle of them. In PSYCHO just as Marion is gloating to herself about how she made fools out of all the people at her real estate office at that precise moment Hitch has the rain begin which starts the concatenation of causes that ends with her dead stabbed to death in the shower. Hitch wants us to experience disillusionment as he shows us neither the world nor people are quite as we imagine them to be. Our plans and views of our control over it the detective with his scientific rationalism and Marion with her joy at her deceptive ability come crashing down. In Marion's case Hitch always sanctions evil within his films; she pays the price for her deeds. Rear Window's detective is more how the world does not obey the scientific paradigm and sadly people are barely rational.

The climax of having Jefferies point himself out by accidentally answering the phone is brilliant; The photographic effects still in their infancy then of Jefferies using flash bulbs to buy himself some time a great masterstroke from Hitch. He then speeds up the attack; making appear quite lifelike no kung fu was needed also happily we did not have five minutes of jumping or other gymnastics. A great film from Hitch; a very enjoyable experience.
What more can be said? Just this:
With over 400 glowing reviews already posted, the only thing that needs to be added is that, if ever a movie proved that "spoilers" can't spoil a superb film, it's "Rear Window."

The movie is smashing great fun even if you know the ending, because what matters is not "The End" but how we got there. I've seen "Rear Window" at least a dozen times, and it seduces me every time with the smart dialog, the performances (go, Thelma!), and especially with the way Hitchcock builds suspense in what is essentially a comic film. He is the master.

Far from spoiling a good film, knowing the ending actually allows you to better appreciate the structure and skill that went into it. After all, who doesn't know how Romeo and Juliet ends? or Amadeus? or The Gospel According to St. Matthew? Does that mean they're "spoiled"? And it isn't just true of adaptations, biographies, and the Bible. Even original stories that seem to depend on surprise-- thrillers like "The Sixth Sense," mysteries like "Chinatown," comedies like "The Sting"-- are just as good the second time if they're well-made in the first place.
Classic Hitchcock Suspense!
I have always been a huge fan of Hitchcok, after 1st seeing Dial M for Murder. Rear Window was probably the 2nd film of his I ever saw. I have since seen it probably 5-7 times and it never fails to keep my interest or cause me to see some new detail I missed before. I think that is the true measure of a Classic or Masterpiece, and this one certainly delivers! There are so many things going on in this movie, but most reviewers have touched on all of these so I won't add to them. But the plot is so superb in its layers of conflict, and studies in personalities of Stewart, Kelly, and all the neighbors. It is probably the best film for observing human nature at its many forms.

I never realized how massive the set was until I dug a little further. They actually constructed the massive building in one sound stage. All the apartments in Burr's building had running water and electricity and could actually be lived in. Talk about realism and going the extra mile - but Hitchcock was all about that. All along I had assumed they had pieced the different scenes together to look like one building. At the time, it was the largest indoor set ever built by Paramount. While some may find the action a little slow as everything is filmed from the viewpoint of Stewart's apartment window, I find it amazing that the movie still creates such tension and suspense in spite of this.

I think it is interesting that Spielberg is facing a lawsuit for his movie Disturbia which claims that it is basically a re-working of Rear Window. Why would anyone even attempt another telling of Hitchcock's perfectly done masterpiece, and especially without permission (even if your last name IS Spielberg)?
Disenchanted with Hitchcock
I watched "Rear Window" again last night. Seeing it again only serves to confirm this growing sense I've had for quite a while. It's the feeling that, actually, for all his innovation, Hitchcock, by today's standards was a sloppy, inattentive, rigid and formulaic director. His movies cause me more annoyance than anything else.

The egregious and prolific cinematic "goofs" in this movie are beautifully itemized elsewhere on this site. It was the same sort of embarrassing inattentiveness in "North by Northwest", "The Birds" and many other Hitchcock movies. He would miss little details from scene to scene which are much less frequent in movies directed by today's top-tier counterparts.

Hitchcock's well-known abhorrence for outdoor shots resulted in the creation of painfully artificial indoor sets - to the point of looking rank amateur.

I'm sure he thought his camera angles at critical moments of his movies contributed to the dramatic intensity of the scene: the camera looking down into the shower in "Psycho", the camera looking down again at Stewart as he is approached by Raymond Burr - it gets repeated in several movies. By today's standards, frankly, the shots are rigid, routine, predictable and boring.

Hitchcock's principal actors are interesting which, I suppose, is why he used them again and again. But many of the other relatively minor characters in his movies are wooden, silent, under-developed and under-utilized to the point of being quite dispensable. They are nothing more than interchangeable props: the two thugs in "North by Northwest" for example or the honeymooners in "Rear Window" illustrate my point.

Nope, I've made-up my mind on this: compared to a Spielberg or Ron Howard, Hitchcock, for all of the praise he has received comes across to me as a so-so director who really didn't have the eye for detail and precision required of directors today and expected by their more technically sophisticated audiences.
the most over rated film ever.
oh my god, i may believe that sun can rise from west but can't believe the position of this movie on IMDb's list of top 250. it doesn't deserve even to be in top 1000. there is no mystery, no thrill. what it does contain is a person just keep looking out of the window all the day to all kind of people. i shall advice all mystery lovers that it can make your mystery taste very sour. one more thing is that a movie directed by alferd hitchcock doesn't guarantee its success. below average for me. all the facts given in this movie are verbal and not practically filmed. whole movie contains buildings with windows.shut the windows on this kind of movie.
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