In the movies of the 1950s, Xi Fat is as always, and the prelude is very slow, but the selected blonde heroine, Princess Grace Kelly (Lisa) of Monaco, and her fashionable fairy dress are really beautiful. The male protagonist of the whole movie, the injured photographer Jeff, is bored every day and relies on "spying" on his neighbors as a hobby. Isn't this like a gossip-loving gossip eater who likes to "spy" on other people's privacy in the Internet age? In a small space, peering into the unknown outside the window. In fact, whether Lars killed his wife, and what was buried in the flower bed, are all a little fog in the daytime. You seem to see it but you don't. You seem to be clear but maybe not so clear. Wife Anna's wedding ring says it all, the outcome is not so important, and the climax of Lisa's final digging in the grass and infiltrating Lars's room to find evidence, the audience is as nervous as Jeff's. In the end, I don't tell the truth, it really is Xi fat. (The dog's head saves life, after all, dig a little deeper. According to Foucault's gaze theory, seeing and being seen are a power relationship, and the world of the rear window is the male gaze perspective, otherwise, how can there be sexy ballet girls dancing every day? ?hhh)
View more about Rear Window reviews
