Rear Window evaluation action

2021-10-13 18:31
"Rear Window" is one of the masterpieces of suspense films. The film successfully created an atmosphere of horror and suspense, and vividly unearthed the voyeuristic psychology and desire hidden deep in the individual's heart  . The film contains all the skills and techniques that Hitchcock is good at, and it is also the film with the most vivid expression of the "voyeur" theme. The film not only allows the audience to see the hidden side of life and human nature, but also provides a model that can be imitated for many later film directors  .
"Rear Window" combines voyeurism and murder with interest, and is a model of Hitchcock's later works. The murder behind ordinary life, with a slightly dark side of humor, ingenious story design, and unexpected and unpredictable ending are deeply imprinted by Hitchcock's works. At the beginning of the film, a large voyeuristic portrayal is leisurely and contented, without the harshness of most thrilling films. The next episode turned ups and downs, and all the clues were waiting for the audience to speculate. In addition, the plot design of Jeffery's use of flash to delay the time also shows the director's ingenuity  .
"Rear Window" is one of the greatest movies in the world  . It is a movie with many institutions, but it is difficult for the audience to find any institutions  . The film not only contains thinking about the desire to peep, but also involves a deep understanding of love. In the movie, the audience can see lonely single women and musicians, a young and loving couple and salesman couple who quarrel every day, as well as Jeffery and Lisa who are constantly arguing about their marriage. The film is actually a trilogy of love and marriage: unmarried people are lonely and lonely, newly married people are happy and sweet, and those who have suffered from long-term marriages are uninterested  .
In "Rear Window", Hitchcock carried forward his condensed style and persistence in film narrative methods. Although there is no textual description in the first scene at the beginning, the audience understands through the film lens that the protagonist is a photojournalist. This kind of expression technique is the purest film narrative technique, but the condensed style does not mean simple and monotonous. Regarding the activities of the residents in the apartment building opposite the protagonist in "Rear Window", Hitchcock has repeatedly shown through the lens from the panorama to the details one by one, but most of the plots are in line with the main story of the film-the wounded photographer found and tracked down A wife murder case has nothing to do with it. This movie does not tell a thrilling crime story in a fast-paced manner, because in addition to the murder, the main theme of the movie is the "voyeurism" of the male protagonist in real life. Although there are only a few shots, Hitchcock is full of interest in telling no less than ten short stories, showing a condensed social picture  .
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Extended Reading
  • 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)

  • 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

Rear Window quotes

  • 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?

  • [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]

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