"Rear Window"

Nico 2022-04-23 07:01:01

Hitchcock's suspense films are really good! ! ! Whether it is light and shadow, lens, color, music, and sound, they are used to the extreme to create a suspenseful atmosphere. Stick to the title of the movie, and watch life from one window to the other, and see the living conditions of different lives. There are various occupations and identities such as ballet dancer, pianist, salesperson, newlyweds, etc. A large number of shots are shot through the male protagonist's first point of view to shoot what happens in each window. Originally, the male protagonist thought that he and the female protagonist were not suitable, but after they jointly investigated the murder case of the salesman, he understood that he and the female protagonist had the same thinking and had a tacit understanding. Through the description of the male protagonist, it shows the exquisite life of the female protagonist, which is in contrast and contrast with the female protagonist in the second half of the movie who only carried a small suitcase to go out, showing the change of the female protagonist. The whole movie is very logical, and most of the clues are provided by the dialogue between the male and female protagonists to promote the plot. Through the conversion of the perspective of the film reader and the perspective of reality, this shooting method makes people feel very novel, and I am very excited to see this expression. For example, the flowers are a little shorter, saying that the wife goes on a long trip but does not wear a wedding ring and other clues connect the whole movie, layer by layer. The police officer's inaction at the beginning was also very anxious and annoyed, which conveyed a good impatience to the audience, but even more attracted the audience's attention and curiosity. At the end of the story, when the salesman opens the door of the male protagonist, the suspenseful and thrilling effects are full, the close-up shots are interlaced with light and shadow, and the black and white tones are perfect to make the bad guys and the darkness blend together, and the good guys are bright in the depths. It was also exciting when the female protagonist sneaked into the salesman's room. The police arrived to achieve a last-minute rescue and meet the audience's expectations, including the final rescue of the male protagonist. The male protagonist uses the flash to make the salesperson invisible for a short time, which is very bright and novel. The finale also showcases a last-minute rescue, a perfect ending.

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Extended Reading
  • Alexandro 2022-04-24 07:01:01

    All sorts of Freudian psychoanalysis, cinematic and voyeuristic convergence judgments, gender relationship dismantling, and reflection all make sense, but the point is that Xifa has a good story to tell here. The layers are clear and the branch lines are rich. The male protagonist is like a physical director who controls what the audience watches. There are too many trivial neighbors, and the murder case even acts as a time caliper, separating the beginnings and turns of each story. The murder itself, from the foreshadowing of the initial quarrel to the subsequent steps of the salesman to cover up the truth, is all relaxed. In the end, when Frith almost convinces himself that this is fake, the audience has more or less self-doubt. Other than that, I especially like the lonely single woman part. Her loneliness is very real, and the ending of being healed by music is also very beautiful. The time wrestling between Frith and Carroll was also great. When I was young, I felt that Carol was pleasing Fries, and when I grew up, I felt the charm of evenly matched forces, including the last scene - Carol was "conquering" her lover, she falsified his judgment on her, but at the same time It also retains its own authenticity. It is very admirable.

  • 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)

Rear Window quotes

  • [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]

  • [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.