Starring James Stewart, Grace Kelly, Raymond Burr, Thelma Ritter, Wendell Corey, Judith Evelyn
Masterful. Inventive. Original.
Stella: We’ve become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change.
A countless number of essays and reviews have pointed out the Challenger deep level of subtext that makes Rear Window so many critics’ favorite Hitchcock film. Voyeurism as a whole and then the parallels between looking in on people’s lives through windows with watching people’s lives through television screens have been pointed out to me, and make the film a good cinematic example of Ernest Hemingway’s popular ice-berg theory (1/8 above the surface, 7/8 beneath). I’m going to focus my brief recommendation on the 1/8 above the surface because it’s here that separates Rear Window, for me, from say, Vertigo, another particular favorite of critics. All of Hitchcock’s films are worthy of deeper exploration and warrant the essays that have been written about them. Rear Window, like The 39 Steps or The Lady Vanishes, also happens to be one of the most entertaining movies ever made. Stewart plays Jeff, a photographer, layed up with a broken leg after a work incident. Decades before Netflix and Chill, Jeff finds very little else to do but stare out his window at his neighbors and watch their lives unfold. Later, he and his gung ho girl, Lisa (Kelly), are certain that a neighbor across the way has gotten rid of his wife…for good. Excellent narrative, beautifully polished film, you have only to watch the first two remarkably efficient minutes (the entire premise is established with a long take and no dialogue in those minutes) to understand Hitchcock’s powers as a filmmaker and storyteller.
-Walter Tyrone Howard-