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A suspenseful plot is offered in “Rear Window,” one of Alfred Hitchcock’s better films. Hitchcock uses both artistic and technical skills in behavior that makes this a stigmatically good piece of murder mystery entertainment. A sound story by Cornell Woolrich and a cleverly dialogued screenplay by John Michael Hayes both provide a cornerstone for a magnificent movie. Also delivering the tense drama are the Technicolor camera work by Robert Burks and the apartment-courtyard setting executed by Hal Pereira and Joseph MacMillan Johnson.
Hitchcock mixes suspense and humor during this film. Interest never ceases during the whole 112 minutes of footage.
After breaking his leg running out on a circuit to induce an activity shot, picture taker L.B. Jefferies (James Stewart) has been stuck in a wheelchair in his domestic flat. He’s in a full leg cast that he isn’t as well affectionate of. The only thing he finds more awful than being stuck in his wheelchair is being stuck within the consideration of his sweetheart.
Grace Kelly plays a ravishing, savvy, monetarily autonomous lady, and she can’t keep her hands off of him. So, what’s the problem? He begins observing his neighbors, from the hot Miss Torso to the unusual youthful couple who rests each night on the fire escape to cool off, and a love bird couple that bought their first flat together. There’s Miss Lonely-hearts, who spends her evenings by engaging undetectable men, and sales representative Lars Thorwald (Raymond Burr), who is married to a finicky lady who is apparently out of commission due to sickness.
In the middle of the night, a half-awake Jeff listens to a lady screaming. He at that point looks out his window and takes note that Thorwald takes off a few times during the night. Possibly Thorwald got tired of his spouse and got rid of her? Jeff starts to fixate over attempting to demonstrate that Thorwald did in fact kill his spouse. Jeff calls his companion within the police division, Doyle, and inquires him to explore. Doyle isn’t in favor of Jeff stalking his neighbors. A neighborhood dog is found strangled to death after burrowing in a flowerbed that Thorwald presumedly buried his late spouse. Jeff and Lisa compose a note to Thorwald denouncing him of the murder so they may see his response as he read the note. Jeff calls Thorwald over the phone and tells him that he’ll go to the police on the off chance that he doesn’t meet him in a nearby bar. This was only a diversion to urge Thorwald out of his loft so Lisa and the nurse can dig where they expected Mrs. Thorwald would be. Finding nothing, Lisa at that point makes an agile however graceful climb up the fire escape and into Mr. Thorwald’s loft. After snooping around, she finds Mrs. Thorwald’s wedding ring only to be caught when Mr. Thorwald returned. He grabs her by the wrists just as the police come knocking on the door. Lisa tries to clarify to the police why she was in Thorwald’s flat all the while signaling to Jeff that she found the wedding ring. Thorwald sees this and realizes that Lisa had an accomplice. Thorwald at that point comes over to Jeff’s flat to go up against him. As he walks towards Jeff, Jeff flashes a few bulbs, briefly blinding Thorwald. Thorwald at last comes to Jeff and after battling, Jeff is pushed out the window and into the yard underneath. At the end of the movie, we see Jeff taking a rest in his wheelchair with both of his legs in casts.
When analyzing this film, the audience is constantly showed a series of natural framing. This means that most of the shots are made through door frames, window frames, and hallways. To make it seem as if the audience were viewing things through Jeff’s eyes, the cameraman uses zooming and panning to make it a more realistic view of how life was for an American during the 1950s.
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