Rear Window evaluation action
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Aliza 2022-03-23 09:01:02
After reading an analysis, I found it very interesting-the windows that the male protagonist looks into are like pieces of movie screens: lonely women are dramas, newlyweds are erotic films, pianists are musicals, ballet dancers are sex comedies, sick women are there Horror film. Because of the single scene, photography and performance needs to be very prominent. Photography is indeed! At the beginning, the long shot of the background of the characters, the fragment of the man from the opposite window coming to the male lead's room, and the suspense caused by the wall that blocks the line of sight when the camera moves are all amazing. though doesn't like Grace Kelly's performance. The male protagonist is typically not proactive, not refusing, and irresponsible. The action of changing the magazine at the end of the film laughed at the hypocrisy and superficiality of the woman. It feels like Hitchcock is already misogynistic at this time. (Film Festival, Giant Screen)
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Candace 2022-03-25 09:01:01
, Within an hour and a half, all the cameras shook and cut in the rectangular windows of the neighborhood, the small rectangular garden downstairs and the dimly lit room of Jeffery, and the peeping lens only stretched to the long back street below the murderer, which was small and cramped. The space does not restrict the tension of the lens and the infinite possibilities of suspense. In addition, I remember that there was such a sentence, in fact, everyone has a desire for exposure and a desire to peep in their hearts. Still makes sense
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L.B. Jefferies: I've seen bickering and family quarrels and mysterious trips at night, and knives and saws and ropes, and now since last evening, not a sign of the wife. How do you explain that?
Lisa Fremont: Maybe she died.
L.B. Jefferies: Where's the doctor? Where's the undertaker?
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[Jeff dials the number for Thorwald's phone. Thorwald is seen from a distance walking over to the phone and standing by it]
L.B. Jefferies: [quietly to himself] Come on, Thorwald, answer it. Come on, you're curious. You wonder if it's your girlfriend calling. The one you killed for. Go on, pick it up!
[Thorwald is seen picking up the phone]
Lars Thorwald: [voice] Hello?
L.B. Jefferies: Did you get my note? Well, did you get it Thorwald?
Lars Thorwald: [voice] Who are you?
L.B. Jefferies: I'll give you a chance to find out. Meet me in the bar at the Albert Hotel. Do it right away.
Lars Thorwald: [voice] Why should I?
L.B. Jefferies: A little business meeting... to settle the estate of your late wife.
Lars Thorwald: [voice] I... I don't know what you mean.
L.B. Jefferies: Come on, quit stalling or I'll hang up and call the police. Would you like that?
Lars Thorwald: [voice] I only have 100 dollars or so.
L.B. Jefferies: That's a start. I'm at the Albert now. I'll be looking for you.
[Jeff hangs up]