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Rear Window: Rear Window
Lyda 2021-10-13 13:06:59
We often see people who are prone to peeping in Hitchcock movies or use the angle of the peeping lens to reflect the world. The rear window can be said to be a classic work that takes Hitchcock's hobby to the extreme. In the film, Hitchcock shows us the nature of the film. From the beginning of the film, we are placed in the perspective of a voyeur, that is, the perspective of the photographer Jeff with a leg injury. In Hitchcock’s view, everyone has a voyeuristic, and the protagonist in the movie is just like us, but But he watched the scenes happening in front of him from the scene, and what we see through the protagonist's perspective is a picture of the scene, isn't it the epitome of the world. The picture displayed by the protagonist adjusting the focal length of the lens from time to time actually implies Hitchcock’s doubts about the world dominated by the topic of patriarchy. We see a dark corner of human nature. In fact, what we see in Hitchcock's film is not only the thrilling plot, unexpected suspense, and most importantly, the dark side of human nature hidden in the story.
Extended Reading
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Dagmar 2022-03-23 09:01:02
If I watch it now, this movie is no longer so horrible. The horrors now scare the audience. I think the reason why Hitchcock is classic is to master the overall situation and create a weird and thrilling atmosphere throughout the movie.
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Shania 2022-03-23 09:01:02
In Xi Pang's work, it should not be considered top-notch, more like a sketch (not a comedy sketch). The film is very delicate, and uses a limited perspective to maximize the narrative function. This limited perspective simplifies many questions (such as which woman the salesman went to the station with), allowing the audience to follow the protagonist’s thoughts closely. Hitchcock is definitely a master in maintaining suspense and grasping the audience's psychology. Seeing the last plot of digging flowers, you will be taken aback. Suddenly you feel that the truth will come to light immediately, and you suddenly suspect that you are completely wrong. . On the other hand, Xi Pang always gives the audience something they want to see: such as peeking at the beautiful women changing clothes, dancing, such as the perfect heroine, such as the actor's ignorance or even indifference to the perfect heroine... more of control The audience is not submissive to the audience. Grace Kelly has a sense of incompatibility with the story and actor James Stewart, which may be the effect Xi Pang wants. The male protagonist of that era still looked at women in a somewhat condescending manner. There is a little irony at the end, but it is hard to say whether it is satirizing the heroine or the male protagonist.
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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]
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[Thorwald forces Jeff's apartment door open and stands before him, closing the door behind him]
Lars Thorwald: What do you want from me?
[Jeff does not reply]
Lars Thorwald: Your friend, the girl, could have turned me in. Why didn't she?
[no reply]
Lars Thorwald: What do you want? A lot of money? I don't have any money.
[no reply]
Lars Thorwald: Say something.
[no reply]
Lars Thorwald: Say something! Tell me what you want!
[Jeff continues to remain silent]
Lars Thorwald: Can you get me that ring back?
L.B. Jefferies: No.
Lars Thorwald: Tell her to bring it back!
L.B. Jefferies: I can't. The police have it by now.