Write descriptive essay about Rear Window movie 1954, write an essay of at least 500 words on Rear Window, 5 paragraph essay on Rear Window, definition essay, descriptive essay, dichotomy essay.
Rear Window
Crime, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
James Stewart as L. B. 'Jeff' Jefferies
Grace Kelly as Lisa Carol Fremont
Wendell Corey as Det. Lt. Thomas J. Doyle
Thelma Ritter as Stella
Raymond Burr as Lars Thorwald
Judith Evelyn as Miss Lonelyhearts
Ross Bagdasarian as Songwriter
Georgine Darcy as Miss Torso
Sara Berner as Wife living above Thorwalds
Frank Cady as Husband living above Thorwalds
Jesslyn Fax as Sculpting neighbor with hearing aid
Rand Harper as Newlywed man
Irene Winston as Mrs. Anna Thorwald
Havis Davenport as Newlywed woman
Storyline: Professional photographer L.B. "Jeff" Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. He begins to suspect that a man across the courtyard may have murdered his wife. Jeff enlists the help of his high society fashion-consultant girlfriend Lisa Freemont and his visiting nurse Stella to investigate.
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Terrible Ending
I'm glad to see I wasn't the only one disappointed by the ending.

If this movie had ended with L. B. Jefferies realizing that Lars Thorwald was innocent, it would have been great. But no, it turns out that Thorwald actually did kill his wife. If ever there was a movie that needed a twist ending, it was Rear Window.

And I'll admit that I thought the camera never leaving the room seemed gimmicky. And didn't people use blinds in New York in the 1950s? And if Jefferies has no problem seeing his neighbors, why doesn't any one of them see him, especially with that huge camera lens he's holding. (Well, Thorwald sees him in the end, but why did it take him that long? Jefferies had his camera lens pointed at his room for more than half the movie.)

And even after I accepted the fact that the twist ending I had hoped for wasn't going to happen, I couldn't get past how stupid the climax was. Really? The villain is stopped by camera flashbulbs? That's something I'd expect to work only in a cartoon.

I've seen two other Hitchcock movies and I didn't like them either. Vertigo was just boring. The villain in that movie just came up with the most convoluted plan to get rid of his wife. And North by Northwest wasn't that great either. Dr. No, From Russia with Love, and Goldfinger (the first three James Bond movies) were all more exciting and all of them had a lower budget than North by Northwest. But Rear Window is definitely the worst of the three.
The Master at his best.
Brilliant. Legendary. Perfect. There are not enough adjectives to describe properly "Rear Window". Along with "Vertigo" and "North by Northwest" this is probably one of his best 3 movies.

After his period in Warner Bros., where he directed masterpieces like "Strangers on a Train" or "Dial M For Murder", it seemed as if the master could not top what he had previously achieved. But he did. In fact, when Hitchcock directed "Rear Window", his first movie at Paramount, he was beginning with the right foot what would become his most brilliant period.

The well-known plot stars Hitchcock's favorite Jimmy Stewart as photographer L. B. Jeffries, who is almost caged in his apartment during his recovery from an accident he had while working. To kill the time, he becomes obsessed with what happens to his neighbors outside, to the point that he is convinced that one of them committed a murder. Grace Kelly plays his beautiful girlfriend, and Thelma Ritter plays his nurse.

Hitchcock makes us parters in crime during Jeffreis voyeuristic adventures, as we are silent witness of the misfortunes of the neighborhood. Lisa, his girlfriend, has a difficult relationship with Jeffreis, there is definitely love there, but he is reluctant to include her in his life because he considers her "too perfect". Jeffreis voyeurism is probably, his escape to his problems as he prefers to watch the others.

Technically the movie is brilliant. The camera is our eyes and it flows smoothly; and even when the movie takes place almost entirely in Jeffreis apartment, it never becomes tiresome or boring. This is also possible to the ingenious script and the brilliant performance of the three lead characters.

Beautiful Grace Kelly is outstanding as the lovely girlfriend who turns into an adventurous spy as she gets interested in his boyfriend's new hobby. Jimmy Stewart gives once again his classic performance of the "regular guy" that Hitchcock enjoyed so much; although in my opinion, is Thelma Ritter who gives the movie that charming quality, as her witty comments are delivered with that dark humor that Hitchcock loved so much.

"Rear Window" is without any doubt, a perfect movie. Hitchcock has walked a long way, but all his previous work was practice when compared to the movies to come; his work would reach it's peak in the famous three: "Vertigo", "North by Northwest" and "Psycho". At this time, he is already considered a master.

10/10. Masterpiece.
It really blows me away...
I first saw Rear Window about 4 years ago in a video/film program that I was attending. At that time I was simply blown away by it.

For starters, I was simply impressed w/ the set. The fact that you can see out of Jeffries' apartment window, across the courtyard and into the other tenant's apartments to see their goings on is incredible. The music used is a musician tenant creating a piece. The fact that it ebbs and flows w/ the action, until the very end when you actualy hear the finished piece committed to vinyl is really cool.

I liked the fact that you only see what Jeffries sees and therefore have to try and guess what actually happened.

While the movie, in a way is actualy about nothing, yet it is about voyeurism and to a lesser degree about love between two apparently different people. However, that is a side line to the actual plot.

for Hitchock, this film uses suspense, rather than gross thriller, such as Psycho or the Birds did to draw you into the film. I've seen it many times and always get something out of it every time. I own a non restored copy on tape and watch it at least twice a year-or more.

It's simply one of the best movies ever made that I've seen and one of my all time favorites. A near perfect movie if I say so myself.

Hitchcock realy paid attention to detail in this movie. The fact that you see "miss Lonely Hearts" actions, Even Lars Thorwald's action is incredible. The attention to detail is simply incredible.
Classic Hitchcock from a unique perspective
With the acting talent of two of Alfred Hitchcock's favourite actors, Jimmy Stewart and Grace Kelly, and a strong supporting cast of Thelma Ritter, Wendell Corey, and Raymond Burr, we have the ingredients of a great movie. However, this movie is much more than the sum of its stars since the directing genius of Hitchcock is more than evident in this film, which is in the top tier of his work. The movie takes place on a small set; in fact, the action takes place in a bachelor apartment with cutaways to other apartments on the opposite side of a courtyard. The location is in a downtown neighbourhood of Manhattan.

The viewer sees much of the action through the telephoto lens of Jimmy Stewart (known as Jeff to his friends), who is a photographer sidelined by an accident. He takes to watching the antics of his neighbours in his spare time. The comic and the sad come together as the camera pans from one apartment to another. The neighbour he is mainly interested in is the apartment of one Lars Thorwald, played by Raymond Burr, who Jeff believes has killed his wife. Thorwald thinks he is acting without the knowledge of anyone but in fact, there is an intruder looking on from the other side of the courtyard, through his rear window.

Raymond Burr gives a convincing portrayal of the sinister Mr. Thorwald – a far cry from the suave, courtly lawyer known on T.V. as Perry Mason. Grace Kelly, as Lisa Carol Freemont, enhances the look of this movie every time she walks on the set. In every scene, she appears like a model from the 1950's. I didn't count the number of costume changes she made but they must have been numerous and she made the most of each one. She is a class act every time she appears and plays the role of the uptown Manhattan girl to a tee. The close-ups of her are eye candy of the first order. In fact, Jimmy Stewart hesitates to marry her because as he says, "she's too perfect". Thelma Ritter (Stella) as the housebound photographer's nurse/masseuse/housekeeper is an absolute marvel with her quick repartee and New York twang to give it that extra zing. During her career, she was nominated for several Academy Awards and is a rich talent. Stella is almost a surrogate mother to Jimmy Stewart, playing the devil's advocate and giving her own two cents'worth on the love match between Lisa and Jeff, particularly Jeff's reluctance to wed.

The plot moves toward the climax when Thorwald realizes he is being stalked and after Jeff finally enlists the support of his buddy Det. Doyle (Wendell Corey). The voyeur's interest in his neighbours leads to some skilled speculation by Jeff that could at any point have been blown away by a logical explanation, as Doyle was suggesting. But the evidence kept mounting and became more and more difficult to ignore.

Some hands-on detective work by Lisa and Stella moves the story towards its climax. This classic movie will hold your interest from its amusing start to goose-bump finish. Along the way, there is a fine script and lots of wit.
A wheelchair man spies his neighbors
This is another good thriller of Hitchcock. James Stewart, as usual, was the selection as a leading actor together with the then nice Grace Kelly, always efficient supporting actress Thelma Ritter, a solid acting of Wendell Corey, and the villain Raymond Burr, who later in his career became the famous actor of the detective Perry Mason. The best is that the thriller does not show any particular violent scenes until its end when the wheelchair journalist (Stewart) was caught in his activities by the guilty man (Burr). Notwithstanding with this, the film keeps you always awaiting for a final discovery of the supposed killer. So watching the film you have entertainment, you may see the people's life of 50s, and you enjoy with the plot of the thriller. Film-makers should see how Hitchcock did to delight everyone with a really simple plot.
"Close the Curtain... Please!" (Spoiler)
The writing for "Rear Window" is little more than an insult to the intelligence of modern day man. Understand that, based on the chronology of my all time favorite films I do have the ability to watch a piece from this era realistically, giving all the necessary consideration to when it was made.

First of all, most of the eventual suspicions acted upon by the cast are thin at best. The ones they're built on, (the basis for Stewart's initial disturbance) are completely unwarranted. There simply isn't enough evidence to ignite the investigation.

The culprit, (Raymond Burr), is suspected of killing and dismembering his wife. The viewing audience is expected to believe that he meticulously disposes of the body with the exception of her head, which, if I'm not mistaken, he buries in the flowerbed outside his own apartment building. Come on, this guy's not portrayed as a serial killer so don't give me that "subliminal need to be caught" crap!

When the neighbors little dog becomes curious and begins digging in the garden he promptly becomes the films second casualty. Instead of properly disposing of the tiny carcass it is left lying on the walkway beside the flowerbed, sending its owner and the rest of the complex into a state of panic. Was he nearly caught in the Act? I don't know, give me at least a slight indication! I could go on and on. The nighttime voyeurism from Stewart's window with the room brightly lit, etc… More disturbing than anything else was the dialogue. I don't believe that people communicated in this manner in the fifties, or anytime in the twentieth century for that matter. The conversations between Jimmy Stewart and Grace Kelly are like a psychotic production of Shakespeare meets The Farmer in the Dell. Oddly enough the one refreshingly realistic role was that of Thelma Ritter, who plays Jimmy Stewart's home healthcare worker.

Rear Window is worth watching, if for no other reason than to witness Hitchcock's phenomenal camera work. I am a big fan of Alfred Hitchcock. Unfortunately, three of his most popular films, (Psycho excluded), are three of my all time least favorite. In fact, the nicest thing that I can say about this movie is that it wasn't nearly as bad as "Vertigo".

A foot note. It might surprise you to know that I've seen this film many times. You see; I have insomnia and there is a classic movie channel that plays it late at night on a semi-regular basis. For me the viewing experience comparable to a shot of Nyquil and three Zanax.
Looking at Urban Life ... through binoculars and voyeurism
Some of Alfred Hitchcock's films date badly, or are flawed by script points he chose to ignore as "Maguffins", or just are not his cup of tea. But REAR WINDOW is one great movie - a film that just never stops fascinating it's audiences as much as the world of that Greenwich Village enclave fascinates L.B. "Jeff" Jeffries (James Stewart).

Hitchcock built a meticulous set of apartment flats with a common courtyard. Although extensive it is, in fact, claustrophobic, with the seemingly separate lives of the residents running into each other more frequently than one expects (witness Raymond Burr's growling at a neighbor as he is working on his garden patch and she tries to give him some advice). The fact that it is supposed to be in the middle of a heat wave (this is in the pre-air-conditioned apartment days) adds to the feelings of closing in - even if the audience actually feels no heat from the set. At least five separate stories are going on that we are invited into during the course of the film, besides the main one of the fate of Mrs. Anna Thorwald (Irene Winston).

Jeff has been a widely respected and awarded photographer around the world, and he is nursing a broken leg (from his photographing a careening racing car). His only contacts with the outside world are his nurse Stella (Thelma Ritter) and his girlfriend Lisa Carol Fremont (Grace Kelly) who is a supermodel of the period (c. 1954). Stuck with nothing to do Jeff starts looking out his window at his neighbors. They include a ballet dancer, a newlywed couple, a struggling pianist composer, a lonely woman seeking companionship, a couple with a dog, and a sculptor. Also there is Mr. Lars Thorwald (Raymond Burr), a salesman, and his wife Anna.

Voyeurism is intoxicating, because (as long as you are unobserved) you can imagine what is actually going on - illustrated by the newlyweds pulling down the blinds of their window, and Steward struggling for words to explain to Kelly about what the couple behind the blinds are doing. But it becomes a matter that we are increasingly urgent as Jeff is aware of what is going on in the lives of those people. In particular the Thorwalds, who are always arguing.

One night he hears a woman scream, and wonders who it could be. Then he notices Thorwald acting very methodically (and atypically) in leaving his apartment with his salesman bag at late hours of the night. He slowly concentrates on Thorwald and his movements in his apartment - and the fact that the hitherto bedridden wife is missing. Both Stella and Lisa dismiss this, until they both are unconsciously drawn into watching some of Thorwald's activities themselves, and they start realizing there is something a bit odd.

Jeff calls in a war friend of his, Police Detective Thomas Doyle (Wendell Corey) and he to is rather dismissive, but checks into the story. And he finds that everything on the surface seems explicable. But despite occasionally making Stewart and Kelly ashamed of themselves, sooner or later some other business by Thorwald or near his abode reawakens suspicions.

The conclusion is memorable for giving Thorwald an opportunity to confront his main prosecutor and demand an ethics answer that just can't be simply answered.

Hitchcock appears to have used elements of the Crippen murder for the story - based by the way on a short story by the gifted noir writer Cornell Woolrich. The cast is splendid, not only giving a bravura performance to Steward, but giving Kelly a chance to stretch her acting when in danger, and giving Ritter another one of her wise, wizened women roles. Burr had his best recalled moments on film here - if not his best performance (I still favor his avenging D.A. in A PLACE IN THE SUN). Corey too is the voice of reason and common sense - until the last moments of the film when Stewart finally jars him.

One of the finest thrillers ever constructed and filmed by a master director
Hitchcock's tale of voyeurism !!!!
A photographer named L.B. Jefferies has broken his leg. With nothing to do throughout the day, he starts observing his neighbours from his window which leads him to grow more and more suspicious about one particular neighbour's behaviour which leads to extremely suspenseful consequences.

Clearly Hitchcock's theme for this film is voyeurism. We all have at least once watched someone from the window secretively. The thrill of observing people who are completely unaware of our peeping has always fascinated us. This very concept of intrusion of privacy has been the primary reason behind the success of the innumerable reality shows which have become so popular nowadays. The current scenario with reality shows makes Rear Window seem profound. The neighbourhood which is being observed by Jefferies is a representation of the whole society. There is the poor couple who struggle to get by,there is the rich lady who is tortured by her loneliness, there is the young ballet dancer who is trying to make her presence felt in the social scene, the musician who is desperate to achieve success with his talent, the old bickering couple and the young newlyweds.

James Stewart has a commanding presence as Jefferies. Everyone knows about Grace Kelly's looks, but what is great about this film is that Kelly is not there just to look beautiful. She is actually the one who does all the physical thrilling dirty work while Stewart remains attached to his wheel chair.

The screenplay by John Michael Hayes is absolutely brilliant. The whole story gets told from the point of view of Jefferies. This is a rare suspense thriller without any chases or thrilling action sequences. The movie depends completely on atmospheric tension. Hitchcock is not called the Master of Suspense for nothing. He shows how minimalistic filmmaking can also generate spine chilling moments of suspense. The film is grounded in realism. Although at first the other characters disapprove of Jefferies' obsession with keeping an eye on his neighbours, but gradually they also become addicted to this practice of voyeurism.

Rear Window is arguably Alfred Hitchcock's best film(which is saying a lot). The movie grabs your attention immediately and never lets got of it. It is an immensely engaging watch and a genuine masterpiece.
Well of course when you've got nothing better to do with a broken leg you will accuse your neighbor of murder!
Finally, I watched "Rear Window" by famous Alfred Hitchcock. First off, I saw this movie on the top 250, and it's #14 on top of that! I mean, it's gotta be great or a classic, right? Also, I'm a fan of the Simpsons, and I got the 6th season where Bart breaks his leg and has to watch the kids outside and accuses Flanders of murdering his wife, Maude. I watched it with commentary and the writers said this was taken from the movie "Rear Window", I had to see this movie! I know it sounds silly that I was more inspired by a show, but it's a good reference if it's from The Simpsons.

"Rear Window" is an excellent movie and a great classic that should never be forgotten! After 51 years, this is still a well talked about movie and I can see why. Jimmy Stewart, he's just so great as L.B., I loved his madness and his dark comical role. He doesn't even try, but you can't help but laugh at a lot of his lines, the way he looks, and the way he presents every scene. He didn't have a lot of movement, he is confined to a wheel chair, but he is so effective and perfect. No one could have replaced him as L.B., he's a terrific actor! Grace Kelly, what a beauty! Beauty and talent, what a great combination and she had it. Playing Liza, I loved her character so much. She started out as this extremely feminine lovely woman who is struggling with L.B., because he is having doubts about marrying her, and you can tell she loves him so much and is willing to do anything for him and to make their lives work, despite his adventurous side as a photographer and her being an indoor kitten. When L.B. talks of the murder to Liza, she is doubtful but never dismisses that it could be a possibility, and stays with him into the end. She finally goes into danger and grabs it by the you know what and wins L.B.'s heart.

I loved the ending, to me it was just one more good laugh with L.B. and Liza. I won't tell, you'll just have to trust me, it was a brilliant way to breath and smile again after all the suspense and drama. "Rear Window" is a true classic and I'm extremely grateful to the reviewers of IMDb who saw this movie and gave it great reviews, and the writers of The Simpsons! If it were not for you guys, I nor other members of my generation would probably not view it! Let's keep this classic alive!

Hated the ending

This movie could have been about a 9 but they built it all up to the most stupid and predictable ending ever!

Where was the twist?

What was the message? Just because you are paranoid doesn't mean your neighbors aren't trying to kill you...? Really disappointing.

Hitchcock had it primed to deliver a powerful ending with Stewart's paranoia either destroying his own life (getting his girlfriend jailed, his best friend fired, and losing his own mind) and/or destroying his neighbor's life for no reason (getting him arrested for murder even though his wife was still alive, or killing him/suicide out of fear).

The era this film was made demanded a much more wholesome ending. As a result we were forced to accept that despite all logic and evidence to the contrary, the paranoid crackpot murder theory of a shut-in depressed photographer was dead right from the beginning.

This film should be remade with a much more intelligent and thought provoking ending.
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