Review of Rear Window (1954) by Jacob M — 15 Sep 2013

There are generally four Hitchcock films that are debatable for his true masterpiece. Some, including myself, give the title to Vertigo. Some give it to Psycho. And others give it to North by Northwest. But the majority of Hitchcock fans agree that the definitive Hitchcock film is Rear Window. While I believe that the definitive masterpiece is Vertigo, Rear Window comes extremely close, and like Vertigo, Hitchcock brings the suspense all out with this one and it's set entirely in one room!

After a freak racing accident leaves him laid up in his apartment with a broken leg, photographer LB Jefferies (James Stewart) spends his time looking out the window of his apartment seeing what the neighbors are doing. He notices a lonely, depressed widow (Judith Evelyn), a struggling songwriter (Ross Badgasarian; who would later create Alvin and the Chipmunks), and a professional dancer who literally dances for most of the picture (Georgine Darcy). But the peeping comes to a crazier level when he suspects that salesman Lars Thorwald (Raymond Burr) has murdered his ill, nagging wife in a gruesome way. Teaming up with wealthy girlfriend Lisa (Grace Kelly), Jefferies has to do some heavy snooping to prove if the man is a crazy killer or not.

Rear Window also stars Thelma Ritter as Stewart's crazy nurse Stella, Wendell Corey as a police detective, and Hitchcock cameos in a scene with the future Alvin creator.

Why does Rear Window work so well? Well, for one thing, it helped that the film was entirely set in Jimmy Stewart's apartment. It might sound boring, but the shots of the neighbors' apartments helps make the film feel like the film is truly an exciting ride. Another thing worth mentioning that took me by surprise is the ginormous sets of the apartments. If a film historian on TV hadn't told me that, I would have thought that the film was literally filmed in some random apartment area. It's that strong of a set. Probably remains one of the most realistic set pieces out there in Hollywood film.

As with Vertigo, Hitchcock's thrilling suspense is unlike any other suspense ever in all of film. When first watching the film, I was skeptical of how a film set in a man's apartment was going to go. But as the film progressed, the more intrigued I got, and by the film's climax, which I'm not going to give away, the film literally got my nerves up. And I will say that the final shot is brilliant. Hitchcock's most brilliant ending that doesn't leave the viewer without any questions whatsoever.

The score is also another intelligent and amazing factor in Rear Window. The opening jazzy theme is so awesome and the quiet sounds of suspense is looming in almost every scene in the final hour. If you don't pay attention to the opening credits, you'd think that the film was scored by Bernard Herrmann. But in reality, the film is scored by Franz Waxman, who also scored Hitchcock's Rebecca, and either way, the score is very brilliant.

Jimmy Stewart did several collaborations with The Master of Suspense. While his role in Vertigo is now regarded as his best under Hitchcock, for a while, his definitive role was in this film. While his role as the detective with vertigo is my personal favorite, as the crippled peeping tom, Stewart delivers once again in a Hitchcock film, Stewart's dramatic flow of the role is an unforgettable experience. Simply put, there will never be another actor as phenomenal as Jimmy Stewart. As for Grace Kelly, she was the perfect leading lady for Stewart. Her opening scene is surprisingly "lovey dovey" for a period of cinema with heavy censors, which today, it's very brilliant. Kelly was one of Hollywood's most stunning actresses of the day, and this might just as well be her greatest role in film. Why didn't she and Stewart do To Catch a Thief? (No problem with Cary Grant, but I thought he and Kelly were a mismatch). Thelma Ritter is very memorable as the nurse, and is also quite funny, especially in scenes of crazy Hitchcockian suspense. Ritter never disappoints, and Rear Window is no exception. As for Raymond Burr as the supposed killer, he's very strong in the role, and his acting is mostly focused of creepy and suspicious looks. While he didn't have a lot of dialogue, Burr's facial looks sums up his role completely.

It may not outdo Vertigo as Hitchcock's greatest film, but Rear Window comes close. The one-room setting is outstanding, the sets are brilliant, the acting performances are well-done, and the film is filled with Hitchcockian suspense from beginning to end. Another Hitchcock film that's very well-done.