Along with VERTIGO
(1958), REAR WINDOW has come to be regarded as one of Alfred
Hitchcock's two greatest works. The most renowned study of
voyeurism ever filmed, REAR WINDOW is also Hitchcock's most technically
innovative film, as well as one of his most allegorical. James
Stewart plays a photographer laid up in his apartment with a broken
leg; out of boredom, he begins spying on his neighbors across the
courtyard and discovers that every picture window tells a story.
The little social dramas unfolding in each apartment parallel Stewart's
uncertain relationship with girlfriend Grace Kelly, but the most
interesting events seem to be unfolding in Raymond Burr's apartment,
where Stewart has seen enough to believe a murder has occurred. A
highly entertaining suspense thriller on the surface, a dense, complex
masterpiece underneath.
- JL
Personal note: As a student in the early '80s, I had the opportunity to be at the New York Film Festival one year for its entire run, as well as participate in press conferences after each film. Among such entries as THE BIG CHILL and DANTON was the rerelease of REAR WINDOW after years of being off the market. After the film, Jimmy Stewart walked out and took questions. Having been handed a golden opportunity to chat with one of our greatest movie stars, I worked up the nerve to ask Mr. Stewart a question. Here is my memory of how it went:
ME: Mr. Stewart, out of all of the films you did for Alfred Hitchcock, which was your favorite?
JIMMY: Weelll... I... I... uh.... I liked them awwllll.
Which was the exact answer I had
predicted he
would give me. Almost needless to say, REAR WINDOW blew away the
competition that year, competition that included such notable films as
THE BIG CHILL and DANTON. One of Hitchcock's top five best films.
- JB