Rear Window (1954)

It's remained my favorite Hitchock film since I first saw it twenty years ago, so it seems appropriate to begin with it.  It's the only Hitchcock film that I've owned on DVD for some time, so I've seen it numerous times (twenty times?) and it's the only Hitchcock film I've ever seen in a theater (sad, yes... a couple of friends and I saw the restored film shown in 2000).  It still startles me and still reminds me of how aware Hitchcock was of what it meant to be "cinematic."

The movie is like looking into a clean (and clever) funhouse mirror.  The film is meant to be a comment (and celebration) of voyeurism and movie-going.  As James Stewart watches the events that unfold in the apartment building behind him (he looks through his rear window, into the rear windows of various and sundry characters and archetypes), we are reminded that we are like him -- that watching

a movie is a bit like being a peeping Tom.

Remembering that, as the film unfolds, adds a level to the film that makes it much more fun and intelligent than a simple tale of suspense.  (David Sterritt in his book, "The Films of Alfred Hitchcock" calls this a "shadow film" -- the 'deeper meanings' behind the surface images shown in the film.  His strange analysis of "Psycho" testifies to his strong belief in the "shadow film.")

The relationship between Jimmy Stewart (L. B. Jefferies) and Grace Kelly (Lisa Fremont) also lifts the story from "Did the man across the way kill his wife... or didn't he?" to "Will Jefferies ever appreciate his girlfriend?  Will she ever bend to help her fit into his life?"  Their dia

logue crackles and Stewart does his best trying to play a man who knows what's good for him (marrying Lisa) but just can't bring himself to want to.  Kelly is stunning and immensely likable and cunning when she needs to be.

The marital archetypes represented across the back alley add more depth to Jefferies' struggle to force himself into a more committed relationship with Lisa.  He sees a defeated newlywed whose new bride seems to have ruined the honeymoon with her neediness.  Thorwald's marriage is no better -- his invalid wife is rude and demanding (so much so, Thorwald turns to murder).  Even the childless couple (with the dog) seem to be living a life based on what is necessary to survive (they sleep on the fire escape to keep cool) than luxury.  Nothing Jefferies sees draws him one inch towards putting a ring on Lisa's finger.

Thelma Ritter plays Jefferies' nurse Stella who urges him to marry Lisa (she calls her "perfect"), but Jefferies keeps her at bay.  Ritter's character feels so modern, it's hard to believe she's walking through a film made in 1954.  (She's also quite funny and provides genuine and reliable comic relief throughout the film.)

I watched this with my wife who'd never seen it, and it was enjoyable to notice her feel tense as the film came to its exciting end -- her gasping a bit when it's clear that Thorwald is going to discover Lisa.  She was even shocked that Thorwald had, actually, killed his wife.  (She thought, surely, the movie wasn't about a man killing his wife which, as a Hitchcock film, of cour

se it is.)

She also laughed (see "Good Evening...") when Stewart falls out the window.  I'm sure those are the best special effects money could have bought in 1954, but it still takes the viewer out of the scene when he falls.  

The policeman, Doyle, gives a wonderful introduction to Hitchcock's view of civil and institutional authority: he fears them and finds them hopelessly hapless and inept.  Sure, Doyle and his police force arrive, but they arrive too late (which is why Jefferies falls from the window at the hands of Thorwald).  Doyle refuses to believe Jefferies and Lisa all along (which provides some excellent tension), even.  Police, in Hitchcock films, are either overbearing bruts or bumbling buffoons (who think themselves more clever than they truly are).  

The music is snappy and the theme song is fun and jaunty.  The film feels like a clarinet solo (slinky and sophisticated), itself.

I could watch this film once a week, if I had to.

Rear Window 1954

Starring: James Stewart, Grace Kelly, Thelma Ritter and Raymond Burr

Written by: John Michael Hayes

Music by: Franz Waxman