Film: Rear Window
Director: Alfred Hitchcock
Studio: Paramount
Principal Actors: James Stewart, Grace Kelly, Thelma Ritter, Raymond Burr
Running Time: 112 minutes
Rating: PG
Release: 1 August 1954

By Jared Hunt

What comes to mind when you hear the name Alfred Hitchcock? Prolific filmmaker? Talented storyteller? Master of suspense? Well, whatever it is, there’s no denying Hitchcock’s incredible talent as one of Twentieth Century’s greatest artists. In a career spanning more than five decades, his films have assembled a who's who of Hollywood's most acclaimed actors like Carey Grant, James Stewart, Montgomery Clift, Henry Fonda, Gregory Peck, Vera Miles, Eva Marie Saint, Janet Leigh, Tippi Hedren, Kim Novak, Sean Connery, Paul Newman, and many, many more.

Hitchcock insisted on having a little fun at his own expense, even if it meant appearing in many of his own films in tiny, insignificant roles. As audiences would eventually become aware of this, and concerned that his appearance would distract the audience and take attention away from the film’s plot, Hitchcock made it a point to show up quite early on in the film, as to allow the audience a light hearted laugh before the narrative was well under way. Whether he was running to catch a bus or taking a pair of dogs for a walk, the audience, and I’m sure Hitchcock, enjoyed this added sense of levity.

It’s fair to say Hitchcock has covered it all--from a serious case of mistaken identity, clinging for dear life against Mount Rushmore and over the railing of the Statue of Liberty, menacing birds, fatalistic heights, a meeting on a train, and even something as trouble-free as taking a shower, Hitchcock has been able to tap into the conscience of the human psyche and has exploited our inner most fears and phobias time and time again. He projects a certain sense of anticipatory thrill with each and everyone of his films. As audiences sit perched on the edge of their seats, with their eyes fixated towards the screen, he is in complete control as we wait with baited breath for the next thing to jump out at us; even if were watching through the tiny gaps our hands make as they cover our eyes in terror. With a collection of unforgettable images forever etched in our movie-going memory and with a forte of scaring us completely out of our wits, Hitchcock's lasting legacy is indisputable and his contribution to the art of cinema is firmly cemented. With a legacy anyone would be proud of, Hitchcock certainly has had a lasting influence on future generations of filmmakers with the likes of one Martin Scorsese.

It may be hard for some to realize that Alfred Hitchcock has been dead for thirty years now, but the legacy of his work and the collection of his films continue to live on. This coming April marks the thirtieth anniversary of his passing and it only seems appropriate to take a moment or two to honor some of his most memorable, if not most appreciative work. Now, there are surely to be some films missed or perhaps left off the list, but this particular look is more of an examination of his life's work and a celebratory analysis of some of his past work in film as a means of gaining a better understanding of why so many consider him the greatest showman.  Now, without any further ado, and in no specific order, I present to you, the first of five films--Rear Window.

Alfred Hitchcock proves you don’t need an exotic locale or an elaborate chase sequence to create great moments of cinematic ingenuity. It appears as though Hitchcock is challenging his own ability as both a filmmaker and a storyteller by creating an enticing setting for tension within a small, confined space. After all, the main character of the film doesn’t move more than twenty feet during the whole entire picture. Hitchcock is certainly experimenting with his own form of filmmaking and he succeeds in every step of the way. It is no wonder that Rear Window would eventually go on to become one of Hitchcock’s  most highly regarded films.

James Stewart plays L.B. Jefferies, a prominent globe-trotting photojournalist, who has suffered a minor set back and must spend the next little while nursing a broken leg within the uncomfortable confines of a wheelchair. With absolutely nothing to do, and faced with the reality of being cooped up inside his sweltering New York apartment building, he decides to open his windows and let some fresh air in, as well see what his neighbours are up to. Jefferies quickly takes a liking to his new hobby. What begins as harmless fun inevitably turns into one man's struggle to stay alive.

The window frames of Jefferies’ neighbours serve as a visual motif and establishes a clear cut relationship to the viewfinder of his camera. Just as Jefferies uses the view finder to look at the world with an objective eye, the window symbolizes the frame as a means of peering in and observing the lives of his neighbours. After days of looking out the window and seeing nothing that interests him, he stumbles across one particular neighbour, whose elusive activity and suspicious behaviour proves to be too good to pass up and so his curiosty begins to get the better of him.

Jefferies immediately suspects foul play and enlists the help of the lady in his life Lisa Fremont, an old army buddy turned police detective Thomas Doyle, and the wise cracking Stella, to free up his impending reservations about his sketchy neighbor. Hitchcock plays with Jefferies’ judgment, as well as our own, by continually having us doubt and question if our own instincts are reliable. Is this simply a case of an overactive imagination or is there something reall going on behind those curtins?

Hitchcock creates an eclectic group of supporting characters--Ms. Lonelyhearts, Ms. Torso, and the Songwriter. Hitchcock is known for creating smart and savvy characters, as in he example of James Stewart’s character who must exhibit a great sense of resourcefulness in order to save his life in the end by using the flashes from his camera to fend off the menacing Lars Thorwald. Lars Thorwald is played by beloved Canadian character actor Raymond Burr (from television fame Perry Mason), who plays a convincing bad guy and perhaps the most credible of all Hitchcock’s villains.

Hitchcock lays the ground work for a great thriller by allowing the narrative to develop on its own terms without any unnecessary distractions. Nothing seems rushed here and Hitchcock is certainly well aware of the time but not overly concerned with it. What’s striking about the way time is organized within the film is that for the first half of the film we have no idea what’s going on or even what or who we should be paying attention to. Hitchcock consciously does this in order to successfully establish the Jefferies’ character external surroundings. Hitchcock allows for an ample amount of time to pass in order to be properly and completely submerged into the frantic ordeal Jefferies eventually comes face to face with.

As with all great storytellers, and a ploy only perfect by Hitchcock, is his appropriation and obscuring of narrative information in order to keep the audience guessing. Some stories aren’t necessarily or even best served when everything is wrapped up neatly in the end. And so, with that being said, any guesses to what is buried beneath the flowerbed?

Written by :

jrhunt

 

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