Excuse me, Ms. Lisa Fremont.
Post I wrote on the film. http://journalsoncinema.tumblr.com/post/39229542348/gazing-through-the-rear-window
No commentary on film or film theory has come anywhere close to the depth (and nastiness, for its design on the viewer!) of this amazing movie. Who knew before this that you could make a film with such static elements and what a film!
he would've gotten away with it too had it not been for those meddling kids
Hitchcock manages to craft an imaginative and tightly wound suspense piece that masquerades as a simple story of intrigue while commenting on politics and privacy in 50's America. Grace Kelly is both divine and perfectly realised. The camera work is superb and this blu-ray remaster is highly recommended. 4 stars
Our cinematic hero. A passive, sexless lump of pure imagination. Vertigo is the tragedy of cinema, this is the celebration.
What all thrillers should take notes from. The cast, humor, set, costumes, story/script, subjective POV of the camera, and nail biting suspense all work in perfect harmony to create not his masterpiece (that goes to Vertigo) but his best thriller.
My opinion is always fluctuating on this one. First time I thought "meh", second still "meh", third time I loved it and thought it brilliant and I saw it a fourth time most recently and really didn't like it much at all. Stewart's character annoys me, he's so god damn whiny, and I have trouble believing Grace Kelly tolerates him much less loves him.
the theme of voyeurism is strongly instilled and layered in the heart of the film. The construction is perfect, the most notable being the unity of place, masterful visual storytelling and clever use of music. it is really a small world in scale that James Stewart has in his yard, and he can't help but react to it.
Btw, has anyone seen this incredible reconstruction of the film as viewed from a single static camera position? http://vimeo.com/37120554
The concept of different windows as portrayals of what's happening to everybody's life in general is such a wonderful concept. Each window may represent o subplot of it's own but picking just one is more than enough to stress the protagonist's main interest. This film is a mix of enough combination of details, not too much, not too little.
Hitch's attention to detail has never been better. From Raymond Burr's straw hat to the reflections in Stewart's lenses to the soundtrack with invisible kids playing, everything is calculated and perfect. Stewart's features are flawless as well. His facial contortions as he satisfies an itch under his leg cast are uncanny. I found myself sticking my tongue sideways between my teeth right along with him. A full load of Hitchcock suspense is delivered in measured doses right up to the climax. The cigarette smoking in the dark bit was one of the most frightening scenes I remember from my childhood movie watching. The final shot is a complete mystery to me.
not like, a perfect movie as perscribed by all the people who told me i was insane for not seeing this yet, but it was still pretty good. the pacing and James Stewart's performance pulled this off for me. the cinematography was just a bonus. by far the best ending of any Hitchcock movie I've seen yet. which probably isn't saying much.
Just watched on the big screen in a gorgeous hi-def print and it only reaffirmed the film's greatness. It was already my favorite movie of all time, and I had seen it countless times, but seeing it in a theater on the big screen was one of my greatest movie experiences.