Rear Window - A Movie Review

There’s something strange going on across the street at my neighbor’s house.

Rear Window snuck into theaters in 1954. Laid up with a broken leg, a man suspects that his neighbor has murdered his wife. Getting to the bottom of the mystery, Jeffries is only putting himself and his friends in danger as they get closer to solving the case.

When I was 13, I binged everything Alfred Hitchcock related. Rear Window found a contrasting directing style that has impacted film history. Suspenseful, Rear Window encourages audiences to never stop at solving a mystery, no matter the rocks in the road.

Rear Window was the first film in which I was introduced to James Stewart. For the duration of his performance, Stewart was wheelchair-bound. For a role like this, most of Steward’s performance was based on his strong countenance. You can, in fact, solve a mystery in one location without traveling.

Grace Kelly and Thelma Ritter make notable appearances. Rear Window was ahead of its time. The women take the lead. Kelly was remarkable and captivating in her facial reactions. Ritter added comedic relief in all her deliveries, even a touch of black comedy. The film would not have been what it is without their performances.

What makes Rear Window a memorable film is the ensemble. Because Stewart is laid up, we see everything from his perspective. Surrounding this neighborhood are several different characters. Alfred Hitchcock’s direction to each and every one of these actors is what the film is all about.

Based mainly on acting, the reactions of the neighbors if my favorite part of Rear Window. Hitchcock gave the actors free liberties to create their characters. I like whenever directors enforce that to actors. As the audience, we see ourselves in these characters.

The ensemble plays a huge role in the story the entire film. We all have a story. The ensemble thoroughly dictates their stories. They felt like real people. To get a genuine reaction from two actors in one scene, Hitchcock intentionally gave them both different directions. The finished scene is funny.

Hitchcock excelled in the camera work and the eerie atmosphere. He kept audiences captivated in a suspenseful story like this. He builds up the tension right to the end.

Lighting and special effects are well-incorporated. The whole neighborhood was recreated in a soundstage which is a surprise to me. I thought it was filmed in ac actual neighborhood. The sets were so real that they were equipped with water and electricity. The actors were very comfortable living in these sets during the month-long shoot.

The cinematography has to be one of the most talked-about aspects of this film. It fits the example of perspective. Rear Window incorporates the right amount of tension, humor, and pacing. The climax is the highlight of the film. The film has multiple layers to it. Just because we are seeing everything from Jeffries’s perspective, it’s not all the information entirely.

Another notable feature in the film is the costumes. Designed by Edith Head, all the costumes, particularly Kelly’s wardrobe were gorgeous.

Rear Window is a very enjoyable Hitchcock film. If you notice that it’s slow, that detail is the whole point of the film. For anyone who is looking to be a director, watch how Hitchcock guides the story in this film. Rear Window is one of his signature films. I always find myself watching it if I ever see it streaming on TV.

If you’re an Alfred Hitchcock fan or want to become on, Rear Window is an excellent film to start with. It’s the definition of suspense.