Perhaps Hitchcock’s most suspenseful film, masterful in its visual storytelling, with Stewart giving one of the best performances of the 1950s. Having broken his leg on assignment, Stewart’s globetrotting photojournalist is laid up in his Manhattan apartment and bored stiff. Despite admonitions from his glamorous girlfriend Grace Kelly, his favorite diversion is to spy on his neighbors, framed screen-like in their windows across the courtyard from his. But when one half of a constantly bickering couple mysteriously disappears, Stewart suspects he may be witness to a murder. –AFI
Alfred Hitchcock has been the most well-known director to the general public since the 1940s – and he remains so in the 21st century, more than 25 years after his death. His name evokes instant expectations on the part of audiences around the world: of a memorable night of movie-watching highlighted by at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in virtually every one of the director’s movies across a half-century – and usually laced with a comical cameo appearance by the director himself.
Alfred Joseph Hitchcock was born into a devoutly Catholic family in London, and his religious upbringing – with its attendant issues of guilt – would have a powerful influence on the psychological underpinnings of his later work. He was trained at a technical school, and initially gravitated to movies through art courses and advertising. He studied the work of other filmmakers, most notably the German expressionists… read more
Some truly awesome shots, especially the long, no-cuts intro. Shooting an entire film from one room is intriguing. I was actually disappointed in the plot, however, finding it lacking any actual psychologically-thrilling elements. The viewer never has any real reason to doubt the validity of Stewart's assertions and the story has no actual twists. I also find Stewart strangely out-of-place and perhaps even annoying.
A collection of movie posters that ignore the golden rule of movie posters.
Johnnie To and Wai Ka-fai’s Don’t Go Breaking My Heart is a romantic comedy obsessed with doubling and decision-making.
I haven’t seen many of Hitchcock’s films, but I prefer this one over Vertigo, even though the later seems to be generally recognized as superior. If Hitchcock’s films often contain taboo themes, I… read review
Arch fetishist Hitchcock combines two of his primary vices, voyeurism and ice-cool blondes, in this fabulous microcosm of humanity, laying bare the impulses that surge and compel, and demonstrating… read review
One of Hitchcock’s greatest masterpieces, “Rear Window” is a deep and entertaining classic with many strengths, and a little bit of everything. A fine suspense story is combined with romantic tension… read review
Rear Window (1954) is without a doubt Alfred Hitchcock’s way of expressing “pure cinema,” meaning film at its peak. He was always working with the mise-en-scenic structure of art and filmmaking… read review