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Film Review: Rear Window

Updated on January 13, 2018
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Review written by: Jason Wheeler, Film Frenzy Senior Writer & Editor.


In 1954, Alfred Hitchcock released Rear Window, based on the 1942 short story, "It Had to Be Murder" by Cornell Woolrich." Starring Jimmy Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr, the film grossed $36.8 million at the box office.


Photographer L. B. Jeffries, who broke his leg during a dangerous assignment, is confined to his small New York City apartment and spies on his neighbors out of boredom. However, one neighbor, Lars Thorwald acts suspiciously, convincing Jeffries he murdered his wife, Anna.


Many consider Rear Window to be one of Hitchcock’s best films and it certainly deserves the praise it gets, using the entirety of the setting’s confined space to its full potential. Since Jeff can’t leave his apartment due to his broken leg, neither does the audience, restricting them to have the exact limited amount of observation Jeff has. Doing so helps to build the suspense. When his girlfriend, Lisa, starts snooping in Thorwald’s apartment, the viewer doesn’t see interspersed shots in him coming back, her snooping and Jeff cringing. Rather, Jeff sees it all and the viewer is left to feel as helpless as Jeff. Furthermore, when Thorwald finally confronts Jeff, the silence between the two is perfectly uncomfortable, just enough for the viewer to pay complete attention and not try to think how it’s going to end up.

The cinematography helps to give the same effect as being able to see everything Jeff sees. He’s watching the apartments, can’t see well enough with binoculars and picks up a telescopic lens and whenever he’s looking through the lens, the viewer is looking through the same lens, only able see what he sees. This helps to further the voyeuristic style Hitchcock was known for.

Even then, non-sexual voyeurism is a main point of the film, maybe even a commentary on how voyeuristic the idea of television and film is, watching the lives of strangers and other unknown people. As Jeff sits and peeks into all the apartments, he sees them go throughout their daily lives and they aren’t just random inserts to make it look like Jeff isn’t only watching Thorwald. Each apartment tells its own little story. There’s a dancer prancing around in her underwear, and she brushes off the advances of every guy who approaches her, only to welcome a lover at the end of the film. There’s a couple who hangs out on their fire escape with a dog and the woman becomes enraged when the dog is killed in the latter half of the movie. They end up with a new one. There’s a woman bemoaning her lack of love and a frustrated composer who has no success. At one point, his playing stops her from committing suicide and the two end up together. Finally, there’s a newlywed couple who are insatiable at the beginning and end up fighting at the end.

The voyeurism is furthered in how the viewer never knows their names, only the nicknames Jeff’s nurse calls them. It could also be, in addition to the voyeurism, that Hitchcock was pointing out how while there is a main story going on between Jeff and Thorwald, there are stories to be found everywhere and individual stories might interconnect at times, such as the entire neighborhood surfacing when the lady screams about her dog.

A fascinating aspect the film has is the film's ending doesn’t completely end Jeff and Lisa’s story. Early on, Jeff says their lifestyles are too different and the relationship would never work out. In the end though, Lisa is wearing low end fashion and reading a novel. Yet, eventually she starts reading a fashion magazine. It show she hasn’t changed in the immediate context of the film. Still, since the film shows how lives and stories change, it could be implying the change for these two is gradual.

Hitchcock also makes clever use of an empathetic environment. There’s a 90 degree heatwave at the beginning, but once the mystery is solved, Thorwald is caught and the other residents continue on with their stories, it breaks and the temperature turns comfortable.

5 stars for Rear Window

Awards & Recognitions

bold indicates reception of award/recognition

Academy Awards

  • Best Director
  • Best Writing, Screenplay
  • Best Cinematography
  • Best Sound, Recording

BAFTA Film Awards

  • Best Film from any Source

Academy of Science Fiction, Fantasy & Horror Films, USA - Saturn Award

  • Best DVD/Blu-Ray Collection (Alfred Hitchcock: The Masterpiece Collection)

Directors Guild of America, USA

  • Outstanding Directorial Achievement in Motion Pictures

DVD Exclusive Awards

  • Best Original Retrpsoective Documentary (Rear Window: Ethics Remembering and Restoring a Hitchcock Classic)

Edgar Allan Poe Awards

  • Best Motion Picture

Las Vegas Film Critics Society Awards

  • Special Achievement Awards for the restoration

National Board of Review, USA Awards

  • Best Actress (Grace Kelly)

National Film Preservation Board, USA

  • National Film Registry

New York Film Critics Circle Awards

  • Best Actress (Grace Kelly)
  • Second Place - Best Director

Online Film & Television Association Awards

  • OFTA Film Hall of Fame - Motion Picture

Sattelite Awards

  • Outstanding Classic DVD (Alfred Hitchcock: The Masterpiece Collection)

Venice Film Festival

  • Golden Lion

Writers Guild of America, USA Awards

  • Best Written American Drama


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    • Film Frenzy profile image

      Film Frenzy 3 years ago from Prescott Valley

      I quite agree. The only other Hitchcock film I'd seen before this was Rebecca and after that and this one, I'm excited to have others of his on my list.

    • SAQIB6608 profile image

      SAQIB 3 years ago from HYDERABAD PAKISTAN

      Well Hitchcock was a charismatic director of thrillers. Rear Window is great in a sense that even in 50's where the cameras were never much developed. Cast was great too.