Peeping, desire from the depths of human nature. If you have long been tired of the consistent narrative presentation of many suspense and thriller films, the usual bleak scenes, hidden murderers and innocent protagonists who seem to be living, may wish to take a look at the rear window, Hitch Director Kirk's "real intervention" keeps the camera free in the small space of the characters, and the skillful and smooth editing grafts a murder case that is naked but evoking. If prying eyes were enough to invade all of your life, would you be willing to be known by others in this way? As an audience, I hope you can pay a little attention to the staggered use of subjective and objective viewpoints throughout the film, then you will be delighted to discover how a big director uses countless shots, just in that small set-up scene Complete the presentation of a multi-angle condensed social picture. Hitchcock let the protagonist's perspective be subtly stitched together with each of you through the camera, and you are immersed in the scene, slowly stepping into this seemingly unreal life scene, and seeing the charming and sexy ballet dancers in the scene. Looking for her love, seeing a lonely middle-aged woman who still dresses up for her own appearance, seeing a couple with a dog, seeing her. . . . . . Would you be ashamed of your voyeurism, just because the protagonist brought the man to justice so that we can stop being angry and wondering if his voyeuristic desire is above morality? Human nature is a cloud of turbid water. We keep looking at it, stirring, stirring, and trying to calm it. The back window has tested the desires of each of us. The prying eyes hidden in a corner are the most sinful.
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