jimmy stewart's isolated world of constant exterior surveillance cannily parallels our current moment in perturbing ways. never one to resist an opportunity to self-analyze, here hitch examines his love of creating worlds to peer into like a dollhouse (or is it dreamhouse? and that's to say nothing of what he did to his endlessly-breaking barbies!) but we love it too, and he knows we do. one of his greatest
It was when i saw REAR WINDOW for the first time that I have fallen in love with the movies, the love between STEWART & KELLY still warms my heart every time I see this movie, HITCHCOCK here achieved something that films rarely achieve he creates a world, time and place, the town here feel so real and so good I think it’s might be shocking to know that REAR WINDOW was completely shot in studio.☟rest in the comments
I am less interested in the meta-commentary and much more in the lustful arrangement of colours; the twisted engendering of character and plot. Some people think of Hitchcock as a paramount of filmic rationality. I wonder - who could ever film things so passionately?
My very first Hitchock. I will add my voice to the ancient chorus in awe of this masterpiece. On the politics of gaze, city life, individuality, romance, mystery, taboo. All-round brilliant. I did not independently realize but later discovered that we never once leave the onlooker's living room. In Nabokov's classic ways, we are complicit.
The audience is made in the perspective of the main character (Jeff). The audience could not see clearly what was happening on the other side and was also intrigued, as was Jeff. A smart move, because the audience becomes tense due to the taking of this perspective. this indicates that Hitchcock is an expert in suspense films, +1 star for The Goddess Grace Kelly
Proof that I have a missing psycho-thriller gene and that I'll never truly get Hitchcock. But I want to. I really do. This technical marvel feeds off the ambiguity of perception but the result is monotony. Stiff and over-starched, drifting to a shabby climax before fizzling. Oy vey it's just me.
Hitchcock's Rear Window fully displays his talent in the art of creating suspense. The story grabs us right from the start by tapping into the strange intrigue of spying on your neighbors and, dose not let us go until we come to the discovery that our suspicious were correct.
★★★★★ A truly amazing film, I don't think there are too many other films like it, and even if they are, I doubt that they are anywhere near as good. Pshyco might be more famous/infamous, but I think that this film is a better film that works even better in a number of ways.
Elegante. Belo trabalho visual e de direção. A câmera desliza com muita leveza e tranquilidade. O roteiro é spectacular: no final das contas é isso que importa. Tem que comentar também a música nesse filme. Sons diegéticos que geram ainda mais imersão e que são muito bem utilizados como um ótimo recurso narrativo. O som serve como uma clara forma de manipulação aqui. Isso realmente é impressionante e delicado.
Der Vorläufer von Blow Up (1966) und Benny's Video (1992): weniger Suspense als drohender Realitätsverlust. Leider etwas zu glamourös inszeniert durch die perfekt gestylte Grace Kelly und dien schoddrigen James Stewart. Psycho zu wiederholen erscheint rein unmglich zu sein, selbst für Meister Alfred.