Hitchcock's tenants-a discussion on "Rear Window"

Vilma 2022-03-22 09:01:02

"Rear Window" is a film about Hitchcock's more perceptual relationship. The reason I think so is because of his thin personality compared to other characters. There are at least two paragraphs of discussions about marriage relationships and two paragraphs about neighboring relationships in "Rear Window". Recently, I just discussed a related issue, so I paid attention to it with interest.

First of all, from the perspective of "Rear Window" itself, a relatively unique event (homicide) was observed from a bad motive (peeping), but it led to a more perfect result (the case was cracked), and there was also a benign result ( Indirectly prevented suicide). Recently, a question about social stability was discussed. In the concept of human being, there should be a distinction between private and public spheres. The balance of these two parts leads to social stability. You can imagine that everyone has their own circle. The extension of the circle is the public sphere of mutual interference. The group is supervised by the law, and the inner circle is the private sphere, and the individual is supervised by morality. Peeping itself is a private infringement of the private sphere (it is surprising that there is a crime of voyeurism abroad, I don't know whether it is in China), but the criminal process of voyeurism in the public sphere that violates morality is supervised. This can be regarded as Hitchcock's torture of social laws.
My personal view is that people live in society, and the delineation of the public sphere and the personal sphere is constantly changing. After the husband and wife get married, the personal spheres of the two may merge, but the murder between the husband and wife still violates the supervision of the public sphere. In short, things between husband and wife are not always private. These two fields are also constantly changing due to changes in human nature. Even the neighborhood relationship in the film has narrowed the limits of the public domain to a certain extent. The couple sleeps in the open air in public view, and the pianist plays the piano that can be heard throughout the building. And voyeurism has become more reasonable. But you and I all know that it is only reasonable under certain conditions. For unreasonable situations, you can refer to Giddens' "Tenants Downstairs". The most interesting thing is that the couple sleeping in the open yelled at the neighbors for their indifference and ruthlessness after the death of their beloved puppy. As a voyeur, the protagonist did not observe To the death of this puppy. Isn't this a kind of irony?

Let's take a look at Hitchcock's attitude towards love. The tenants in the movie have the following situations: old maidens who cannot express their love attitude, pianists who have been hurt, ballerinas who seem to be cynical, newly married couples, couples sleeping in the open air, wives being caught by husbands The murdered salesperson’s home, and the protagonist and his girlfriend who are still considering whether to get married during their relationship. This is actually like a kaleidoscope. Characters of all kinds are placed under the camera to carry on their own lives. The old maiden is not understood because she refuses to have sex before marriage, and she even wants to commit suicide because of contradictions. The saddest movement is still played in the middle; the ballerina is like a courtesy, and she has not let the tycoon get herself, as if playing with a man between the palms of her hands; the newlyweds have sex in darkness, even the husband is called back in the window smoking. Continue; married couples who have been married for many years find new feelings by sleeping in the open air; the salesperson is tortured by his sick wife and finally killed her; the protagonist and the girlfriend have different attitudes about life adventures. Through the adventures of the whole film, Leave a beautiful suspense at the end.
In fact, I can't see Hitchcock's attitude towards love from the film, but it accurately conveys a thousand faces. Regardless of the reason, Hitchcock filmed various emotional entanglements and gave them a good home. At the end of the story, the old maiden came to thank the pianist for hearing the beautiful music before she was about to commit suicide, and the boyfriend of the ballerina as a soldier also returned. The relatively happy ending also conformed to people's imagination. Make this film the highest ranked film on Hitchcock imdb. But remember, the whole film was started by the murder of his wife.

Finally, I will end these two discussions with one sentence. In fact, the relationship between people is not that complicated. They should be like jigsaw puzzles before each other. Maybe there are parts that penetrate into the private domain of others, and there may be parts that are invaded by others, but they make each other more familiar and connect firmly together.

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Extended Reading
  • Kiera 2022-03-23 09:01:02

    The sophisticated story design and the unexpected and unpredictable ending are deeply imprinted by Hitchcock's works.

  • Doug 2022-03-23 09:01:02

    A rewatch after 9 years. Playful, the multi-act account and the classical soundtrack seem to be an extended episode of Cat and Mouse~ @BJIFF Archive

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]