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- 1954
- Approved
- 1 h 52 m
- 1954
- Approved
- 1 h 52 m
Summary A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.
Directed By: Alfred Hitchcock
Written By: John Michael Hayes, Cornell Woolrich
- 1954
- Approved
- 1 h 52 m
- 1954
- Approved
- 1 h 52 m
Rear Window
8.7
Where to Watch
Summary A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.
Directed By: Alfred Hitchcock
Written By: John Michael Hayes, Cornell Woolrich
Where to Watch
Top Cast
Metascore
Universal Acclaim
Based on 18 Critic Reviews
100
100% Positive
18 Reviews
18 Reviews
0% Mixed
0 Reviews
0 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Universal Acclaim
Based on 18 Critic Reviews
100
100% Positive
18 Reviews
18 Reviews
0% Mixed
0 Reviews
0 Reviews
0% Negative
0 Reviews
0 Reviews
Based on a Cornell Woolrich short story, this is one of Hitchcock's finest moments, full of subtle humor and nasty black turns, not to mention a wonderful score by Franz Waxman and gorgeous cinematography from longtime Hitchcock director of photography Robert Burks.
The most densely allegorical of Alfred Hitchcock's masterpieces (1954), moving from psychology to morality to formal concerns and finally to the theological. It is also Hitchcock's most innovative film in terms of narrative technique, discarding a linear story line in favor of thematically related incidents, linked only by the powerful sense of real time created by the lighting effects and the revolutionary ambient sound track.
User Score
Universal Acclaim
Based on 537 User Ratings
8.7
93% Positive
498 Ratings
498 Ratings
4% Mixed
22 Ratings
22 Ratings
3% Negative
17 Ratings
17 Ratings
User Score
Universal Acclaim
Based on 537 User Ratings
8.7
93% Positive
498 Ratings
498 Ratings
4% Mixed
22 Ratings
22 Ratings
3% Negative
17 Ratings
17 Ratings
that time classic thriller film. well executed and well written. for modern day some people will find it boring but it was actually great
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Everything from the masterly opening sequence to the ambiguous final shot indicates that this is the work of a prodigiously talented director.
What's extraordinary, for a film that works on these different levels, is that it also manages to be a riveting thriller.
As much as I admire all of these, especially "Vertigo," I can't imagine that any one of them will top the feelings of exhilaration that are prompted by Rear Window, this most bittersweet of Hitchcockian suspense-romances. Make no mistake about it: Rear Window is as much of a romance as it is a brilliant exercise in suspense.
Rear Window lovingly invests in suspense all through the film, banking it in our memory, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay.
Mr. Stewart does a first-class job, playing the whole thing from a wheel chair and making points with his expressions and eyes. His handling of a lens-hound's paraphernalia in scanning the action across the way is very important to the color and fascination of the film.
Rear Window is a one of the more sophisticated Hitchcock films, and I will always consider it a masterpiece. It has tension, suspense, humour, has a strong voyeuristic tone to it and moves along at a good pace. The cinematography was truly excellent, dark in some scenes and beautiful in another. The script is fantastic and genuinely memorable(Thelma Ritter's wisecracks especially), likewise with the story, about a man who is convinced that his neighbour has killed his wife. I have always considered Rear Window's main merit to be the performance of James Stewart, he was perfect as Jeff, the man who is in a wheelchair, due to a broken leg. The other performances go without fault either, especially from the beautiful Grace Kelly as Lisa and Raymond Burr in a chilling performance as "the villain of the piece," Mr Thorwold. The music was expressive and atmospheric courtesy of Franz Waxman, and the climax was possibly the highlight of the film, after Stewart's performance. The 1954 version of Rear Window will always be a classic, not the inferior TV remake with Christopher Reeve. All in all, a must see for those who are fans of Hitchcock. 10/10 Bethany Cox.
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Bon alors, j'aimerais -une fois n'est pas coutume- commencer par une note positive : la gracieuse Grace Kelly et sa blondeur enivrante ainsi que ses yeux bleus comme l'océan et... Mais d'ailleurs il faut se méfier, car son prénom prononcé à l'anglaise, ça donne "graisse"... Et on ne veut pas de graisse, non, non, pas du tout !
Alors, il vaut mieux dire "Grâce" avec un gros accent circonflexe sur le "a" mais ne pas l'utiliser comme adjectif parce que sinon ça donne "grasse"... Et elle n'est pas grasse, bordel de merde ! Mais passons, car je me rends compte que je meuble comme un crevard et que je fais mon Hitchcock quelque part ; je me regarde donc le nombril, je me gave de Lexomil (c'est pour la rime) j'allume 3000 watts de projos et je commence à film... à faire de la merde.
Je laisse le fâlot James Stewart en roue libre, avec lui quoi qu'il arrive, on commence déjà à s'endormir et j'étire mon espèce de pièce de théâtre qui dure pas loin de deux plombes au maximum : elle plombe tout avec un aplomb sidérant, hypnotique et surtout soporifique. Je veille bien à ce qu'il ne se passe strictement rien tandis que tout le monde mate ces automates à travers les fenêtres grandes ouvertes... sauf à la toute fin que je m'efforce de rendre encore plus ridicule que tout le reste, ce qui n'est pas une mince affaire...
...mais j'y arrive toujours parce que je m'appelle Hitchcock et qu'il paraît que les bobos m'ont surnommé le "maître du suspense" !! putain qu'est-ce qu'on rigole quand même...
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Awards
Academy Awards, USA
• 4 Nominations
New York Film Critics Circle Awards
• 1 Win & 2 Nominations
National Board of Review, USA
• 1 Win & 1 Nomination
