Being one of Hitchcocks best thrillers, Rear Window (Alfred Hitchcock, 1954), brings all of his fascinations and trademarks into the one film. The clever concept of the film touches on themes of obsession and voyeurism along with romance and murder. Watching the film from the view of one character, Jefferies (James Stewart), confined to a wheelchair and therefore shot in one room, strengthens the message of curious voyeurism. The viewer watches Jefferies watching others through his rear window, creating the viewers consciousness of their own voyeurism and the pleasurable voyeuristic nature of motion pictures.
The many subplots presented through Jefferies' viewings of his neighbours lives present the theme of love, which could be mirrored in his own life and relationship with Lisa (Grace Kelly). Kelly's performance is captivating as the perfectly beautiful fashion model. Alongside Stewart's performance as the obsessed wheelchair-bound photojournalist. Mention must also go to Thelma Ritter's performance as Jefferies' honest and grounded nurse.
Although the film is shot in one room, as with Dial M for Murder, the viewer is freed from the feeling of claustrophobia through the Hitchcock's skillful direction. The viewer is able to escape through Jefferies' eyes using his binoculars for close-ups and pans to see what Jefferies sees through apartment windows and small openings between the buildings giving the viewer just enough to create suspense.
The set is magnificent. An actual multistory apartment building to allow the many subplots and different lives to develop. Being shot from one angle keeps the viewer feeling as though they are really watching the scene take place. The use of natural sounds and music add to the realism. A great Hitchcock thriller, with deeper themes of the very nature of the popularity of motion pictures in our curious society.
No comments:
Post a Comment