Review of Rear Window (1954) by Cael M — 27 Jul 2013

Rear Window is one of Alfred Hitchcock's best movies and one of the most well-known of the suspense genre, and for great reason too. Though not my favorite Hitchcock (out of the ones I've seen, I really can't decide, but probably Vertigo), Rear Window works on every level, and the most fascinating part about how well this movie works is the fact that the whole film takes place in one single, small area. It's a very inventive technique that influenced the later films of the genre, and it's really no wonder as to why the greatest aspects of the film have been copied over and over again since it was released. I doubt Hitchcock would've predicted just about how huge Rear Window's legacy would be, but now nearly sixty years later after its release in 1954, it's pretty obvious that both its technical and storytelling techniques created a foundation for many later thrillers. It feels like you're right next to the characters at the very moment the events are happening, and that's just one of the many breathtaking aspects that this film has to offer.

Rear Window has a really interesting premise about a photojournalist named L.B. Jeffries (James Stewart) who was a broken leg and finds himself confined to his tight, small apartment room right next to the window. His only way to pass time is to stare outside his window into his neighbors' apartment rooms, taking note of what they're doing. As he watches his neighbors' activities on a daily basis because that's just about what he's limited to when it comes to entertainment, he's regularly visited by his nurse (Thelma Ritter) and his girlfriend named Lisa (Grace Kelly). That's just about all I'll say about the plot of this movie because for just about every suspenseful movie, it's always better to not know all too much and allow yourself to be immersed into the atmosphere. Here, the atmosphere is brilliant, and as I previously stated, the very fact that the whole film takes place in an enclosed area might sound boring and uninteresting with no possible way for suspense to occur, but it takes full advantage of that idea and adds incredible tension.

One of the best parts about this movie is James Stewart as the protagonist. James Stewart is one of my favorite actors and he couldn't of been any better here, and as lots of Hitchcock movies follow, the protagonist is usually an ordinary man who finds himself in the midst of trouble. As the film begins, you're introduced to this ordinary man living an ordinary life, although restrained by his broken leg, and you can't possibly imagine as to how trouble would occur, but it really does, and very effectively. The best part about his character are his reactions to his neighbors' activities, and he always has this very subtle yet fascinating reaction that expresses his emotion very entertainingly and interestingly. It's often funny to see what his neighbors are doing and what he thinks of them, and their activities feel genuine and real. I felt his character's pain because it looked awful to stay in such a confined, sweltering area with nothing to do for a whole seven weeks, but I felt like I was on a journey with these characters as the events were happening, and by the end of the film, I realized that I felt like I was right next to them.

James Stewart is not the only highlight in the acting department, and Grace Kelly as his girlfriend, Lisa, as well as Thelma Ritter as the nurse and Wendell Corey as a detective, are all diverse and very entertaining to watch. As the film progresses and you're introduced to these characters more thoroughly, you feel a relationship developing between them, and overall, all the characters are very well-developed. There are a few moments where I chuckled because of their relationship towards each other, and Jeffries's girlfriend, Lisa, has a high-class, celebrity-like, sophisticated lifestyle, as opposed to Jeffries's more enclosed lifestyle, and he feels like she's not meant for him for that reason. That idea progresses as the film goes on, building more depth to their relationship. There's also another actor that plays a character really well, but I'd rather not say what his role is because that would ruin the fun and suspense of the plot.

As I stated, all of the neighbors' activities are very interesting and fun to watch, and they all result in some kind of emotion, whether its laughter, mystery, or sadness. There's a ballet dancer with a healthy social life by the name of "Ms. Torso", as well as "Ms. Lonelyhearts", who's a lonely woman that refuses to accept that fact, and pretends that she has a man in love with her. There are also others such as a musician, a salesman, a newly wed couple, a couple that sleeps on their balcony, and a few more. Hitchcock even makes a cameo in one small part, and I'm fairly sure that he makes a cameo in just about every one of his movies. These neighbors seem to mostly keep their windows open (allowing Jeffries to spot their activities), probably due to the hot, sweltering atmosphere, and you really feel that atmosphere in this movie. It really does feel hot, and it sometimes looks painful for Jeffries.

The heat rises not only in the weather, but in the drama as well, and Hitchcock's slow-paced thrills mixed in with his insane, brilliant attention to detail results in the best kind of suspense. Hitchcock also uses a very inventive, influential shooting style by making use of its claustrophobic, small setting, with tons of close-up shots and fascinating looks at both suspicious and innocent activity. The fact that Jeffries feels human and real (as does all of the other characters) is only one of the many reasons as to why this film works on every level. There's also a brilliant, very intense climax, and the final shot is just pure great. As I said, go into this film only knowing what I told you, because it's certain that you'll enjoy the film more. That fact applies to not only this film, but practically all suspense films (because that's pretty much the point of these kinds of movies).

Rear Window is undeniably influential and is one of those movies that has had a huge legacy on just about every mystery movie after this, and it's really no wonder as to why this is considered one of Hitchcock's best in his collection. I wouldn't be surprised if you've heard about this premise many times prior to watching this, but that just shows how mimicked this film is, but never matched. Legacy aside, because you've probably heard it more times than once, Rear Window is pure intensity for two hours, and it's more than likely that you'll be on the edge of your seat for the whole ride.