Stars: **** out of Four
Summary: A completely unusual and charming mystery classic.
Review: What if your leg was broken, forcing you to be confined to a wheelchair for months with nothing to do but stare at the neighbors? James Stewart’s character finds out just what it would be like in Hitchcock’s ‘Rear Window’. Shot almost entirely in one room, Hitchcock defies the conventions of film for a seemingly pedestrian premise. The result is dialog-heavy, but not unbearably so, and lacks the benefit of multiple locations to pique audience interest.
Hitchcock proves he doesn’t need them.
The filmmakers built a magnificent set for ‘Rear Window’, which comprises the protagonist’s apartment complex. Every shot is either of the goings on inside the protagonist’s own apartment or the courtyard outside his rear window, hence the title.
Photographer L.B. “Jeff” Jefferies (James Stewart), still recovering from a broken leg he received by getting too close to danger in his line of work, spends his days watching his neighbors. He is criticized by both his nurse, Stella, and his socialite girlfriend Lisa Fremont for his habits. Multiple stories are going on around the courtyard. The denizens of the complex each have their own quirks, and everybody feels real. This film’s pedestrian look at life in the complex is not dull. Modern audiences might not appreciate the slow burn of the film, however.
Over a series of days, Jeff witnesses strange behavior by his neighbor, Lars Thorwald (Raymond Burr). Jeff suspects him of killing his wife. He soon wins both Stella and Lisa over to his side of the argument, but Lieutenant Doyle, his friend in the police, is unconvinced. Evidence continues to mount for both sides. Is Mr. Thorwald a murderer or isn’t he?
The big issue of the film is voyeurism. Hitchcock is questioning the nature of film itself through the narrative. Is it right for us to watch even fictional strangers experience pleasure and pain, for our own satisfaction? Hitchcock doesn’t provide us with answers, but the film doesn’t feel empty because of this. The questions are subdued enough not to distract or confront us. Eventually, Jeff gets too close to danger once again, showing in a humorous way that watching people for a living- or for enjoyment- has its costs.
The musical score for the film is entirely diegetic. That is, every musical cue has a source within the film. Most of the music is provided by the character of the songwriter who lives in the courtyard. This serves to enhance the feeling of audience involvement in the story. We are a lot like Jeff, watching fictional neighbors. This film couldn’t be described as a purely suspenseful drama. It is more a benign, intelligent mystery with a romantic undercurrent. The suspenseful moments near the climax, of course, don’t disappoint. The best moment is when Thorwald, angry with Jeff for being accused of murder, breaks the ‘fourth wall’ by looking directly at the camera, and thus the audience. It’s creepy fun.
I like this film less than Hitchcock’s later work, ‘North by Northwest’, which I have also reviewed. It is less thrilling and fun at face value than that film, but they both are perfect in their own manner.
“See it! If your nerves can stand it after ‘Psycho’!”