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"Rear window" (154) composed by Alfred Hitchcock, has been dubbed as one of Hitchcock's 'most recognised films', 'a stylish and classic thriller'. Starring James Stewart as J. B. Jeff Jeffries, Grace Kelly as Lisa Carol Fermont, Wendell Corey as Detective Thomas J. Doyle, and Thelma Ritter as Stewart's nurse Stella, and Raymond Burr as Lars Burr.
J. B. Jeff Jeffries the professional photographer was determined to take the pictures of a lifetime and stepped in the way of a racecar accident. The result, a broken leg and six weeks in a cast in his own Greenwich Village apartment. Bored out of his wits, Jeff can let go of his profession and begins observing the world around him. Since his world is limited to the courtyard and the apartments surrounding him, he begins watching and studying his neighbours. As he becomes more familiar with the cast of characters surrounding him, Stewart begins naming different neighbours and becomes familiar with their routines For example the gorgeous Ballerina dubbed as 'Miss Torso', and a lonely middle aged women appropriately named 'Miss Lonely Heart'. Burr plays a scowling, barrel-chested salesman who steps out several times late one night carrying very heavy luggage and returns with the same bags much lighter. When his bickering, bed-ridden wife is conspicuously absent the next morning, Stewarts analytical imagination goes into overdrive. At first, he calls his friend Detective Thomas J. Doyle to some initial investigations as to the whereabouts of Thorwarld's wife. After investigation, Doyle concludes that Burr is harmless. Stewart deduces something far more sinister. He enlists his girlfriend Lisa (Grace Kelly) to investigate some of the events that puts him and her in unexpected mortal danger.
The beauty about Rear Window is its inherent simplicity and the masterful way in which Hitchcock tells the story. The editing of the visual text and the way Hitchcock is using surrounding apartments and their inhabitants to add colour to the text, creates a good pace that always feels natural. Times during which nothing happens in the actual story line, are masterfully used to show us snippets of the people around, which help set the scene and develop the plot, often at times different characters becoming involved in the plot. Each of these 'snap-shoots' is intriguing and exciting to watch, offering a wide variety of interesting characters and events.
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Hitchcock's use of subjective camera angles and lighting, convey the base elements of the crime fiction genre mystery, suspicion, intrigue. In the case of 'Rear Window' the main source of mystery occurs in the process not of seeking out who committed the crime, but rather how the crime was committed and proving it. Hitchcock stays true to his reputation, and uses unusual but highly effective camera angles throughout the visual text. The use of panning across the courtyard, subjective camera views of Stewart binoculars and telescopic lens, allow responders, to see what his eyes are seeing, close ups as well as long range shoots heighten the element of suspense throughout the visual text. He establishes the basis of Stewarts character in a single camera pan -- across the cast on his broken leg, over a stack of magazine covers and a smashed camera (evidence of the accident that landed him in a cast), and up to a wall of framed, action-packed pictures divulging his intrepid photojournalism career. The use of lighting and colour is also successful in establishing different scenes and atmosphere, for example Burr's face cast in half shadow and the entire room pitch black, when Thorwarld enters Stewart room, intensifies suspense, tension and a sense of dread from responders.
Hitchcock's 'Rear Window', is a masterpiece filled with suspense and excitement, the visual text is a superb example of how to make a film on one set and still make the viewer feel free of claustrophobia and completely terrified and engrossed as the take a journey on the process of investigation, in proving the existence of a crime.
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