Fenêtres sur cour tient de l'essence du cinéma. La subtilité des déplacements de caméra, le jeu des lumières, cette manière de raconter des histoires dans l'histoire depuis des fenêtres qui mettent le cinémascope en abîme, la simplicité des expressions, l'âme des personnages... En deux heures, Hitchcock montre toute la palette de son talent et cela reste éblouissant !
Another gem from Hitchcock, Jimmy Stewart in the wheelchair looking out in the courtyard of his apartment. Grace Kelly's entrance was perfect. She was luminous. Thelma Ritter steals every scene that she was in with her quips. A barely recognizable Raymond Burr appears in the films. It was a little risque for 1958 with people dealing with suicide, alcoholism, adultery and some quick nudity.
Who gives a damn if there is a little mistake in continuity as long as the movie itself is a "tour de force". The plot is so great and original (at least at that time, but I must say no remake is good as the original) and above all, the suspense is incredible. The other day I started to watch the movie again and even if I had already seen it I was caught by the film
Rear Window is one of my favorite Hitchcock films and I think it really brought out my inner voyeur (in a completely innocent way!). In a way, I felt like I was a little girl playing with dollhouses throughout its entirety, lending a sense of playfulness which really eased me into the mentality of a peeping tom. Grace Kelly is oozes sensuality, particularly in her first few scenes.