Rear Window [DVD]

I definitely felt I had to purchase this movie. It is a classic, with great actors in every moment and though it was Made years ago, it still delivers a very intriguing movie with twists and turns throughout!

I was blown away by how great this classic looks on 4K Ultra HD. The picture quality is spectacular, with sharper details and richer contrast that really brings Hitchcock’s legendary sense of suspense to life. The shadows and lighting feel more natural and immersive than previous transfers I’ve seen, which makes every scene more engaging and cinematic. The audio is clean and faithful to the original mix, so the tension builds beautifully without distraction. This edition is a fantastic way to own one of the greatest thrillers ever made, and it’s absolutely worth having in your collection if you love classic cinema or just great filmmaking.

194us Rear window (Alfred Hitchcock, 1954, 112') Written by John Michael Hayes (with whom there is a delightful interview in the features of the dvd, and who won a 1955 Edgar Award for Best Motion Picture), based on Cornell Woolrich's 1942 short story "It Had to Be Murder". Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter and Raymond Burr. It was screened at the 1954 Venice Film Festival. The film is considered by many filmgoers, critics and scholars to be one of Hitchcock's best. After breaking his leg during a dangerous assignment, professional photographer L B "Jeff" Jeffries (Stewart) is confined in his Greenwich Village apartment, using a wheelchair while he recuperates. His rear window looks out onto a small courtyard and several other apartments. During a summer heat wave, he passes the time by watching his neighbors, who keep their windows open to stay cool. They include a dancer ("Miss Torso", played by Georgine Darcy), a lonely woman ("Miss Lonelyheart"), a songwriter, several married couples, a middle-aged sculptor, and Lars Thorwald (Burr), a wholesale jewelry salesman with a bedridden wife. Jeff discusses his observations with his wealthy socialite girlfriend Lisa Fremont (Kelly) and his insurance company home-care nurse Stella (Ritter), and becomes obsessed with their theory that Thorwald murdered his wife. He explains their theory to his friend Tom Doyle (Corey), a New York City Police detective, who looks into the situation but finds nothing suspicious. A few days later, the heat has lifted. The lonely neighbor woman chats with the songwriter in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. In the last scene of the film, Lisa reclines beside Jeff, appearing to read a book on foreign travel in order to please him, but as soon as he is asleep, she puts the book down and happily opens a fashion magazine. The film received overwhelmingly positive reviews from critics and is considered one of Hitchcock's finest films. Time called it "just possibly the second most entertaining picture (after The 39 Steps) ever made by Alfred Hitchcock" and a film in which there is "never an instant ... when Director Hitchcock is not in minute and masterly control of his material." The same review did note "occasional studied lapses of taste and, more important, the eerie sense a Hitchcock audience has of reacting in a manner so carefully foreseen as to seem practically foreordained." François Truffaut in the Cahiers du cinéma in 1954 centers on the relationship between Jeff and the other side of the apartment block, seeing it as a symbolic relationship between spectator and screen. Film theorist Mary Ann Doane has made the argument that Jeff, representing the audience, becomes obsessed with the screen, where a collection of storylines are played out. This line of analysis has often followed a feminist approach to interpreting the film. In his book, Alfred Hitchcock's "Rear Window", John Belton addresses the underlying issues of voyeurism, scopophilia, patriarchy and feminism that are evident in the film. He quotes "Rear Window's story is "about" spectacle; it explores the fascination with looking and the attraction of that which is being looked at." Generally, Belton's book asserts that there is more to Hitchcock's thriller than what initially meets the eye. These issues that society faces today are all more than just present in the film, they are emphasized and strengthened. Hitchcock uses sound to convey the thematic elements behind Jeff's behavior and the audience's relationship to his subjective point of view. The music in Rear Window is entirely diegetic, and therefore every character in the courtyard hears the sound and acts based on what they hear. Hitchcock is less interested in reality than in how reality is perceived. Thus his use of entirely diegetic sound illustrates the idea that what we see as the audience is real. 194us - Rear window (Alfred Hitchcock, 1954, 112') -Rare view - 10/10/2012

This was a great movie. Great acting! Great price! 3.99. So much better than todays movies!! Great story line. This is movie I would like to own to rewatch. There isn't any great "actors" like Jimmy (James) Stewart any more. So glad this was on Amazon. So worth the watch!! Thank you Amazon!!

"REAR WINDOW" (1954) This is director Alfred Hitchcock’s classic thriller! Even professional reviewers often fail to realize that a movie's box office success is largely determined by the moviegoer’s subconscious thoughts and feelings rather than objective logical reasons. And promoters of movies and products use subliminal devices to influence consumer response and sales. (For example, I once bought a pair of forest green pants, and later I realized the reason was because they reminded me of the pants worn by the legendary hero Robin Hood in the classic movie!) In Rear Window, the hulk-like Canadian actor Raymond Burr (Perry Mason) portrays the sullen Lars Thorwald. The salesman’s suspected guilt of a hideous murder infuses the movie with an electrifying atmosphere of eerie suspense. And leaving the graphic details of the murder to the imagination of the audience made it infinitely more gruesome. The resulting involuntary chills of terror have been traveling up the spines of moviegoers for decades, and have made this movie a memorable horror classic. The salesman’s ill-fated wife and the unlucky little dog served as props for that purpose. The other inhabitants in the building were mere distractions. But neither the delightful Thelma Ritter nor the universal love for Jimmy Stewart and the Princess of Monaco would be enough to save this film from boredom, were it not for the sinister vibes of Raymond Burr’s malevolent Thorwald. This clearly illustrates how good CASTING can be even more important than good writing, acting, and directing. And if you doubt this, try visualizing Don Knotts as the evil menacing heavy :) And a final bit of trivia…Notice the reference to THOR, the angry Norse god of thunder, hidden in the name of the story’s villain, “Lars Thorwald”. This character’s name added a subliminal aura of the supernatural and alien darkness to the already unsavory salesman.

テレビ録画してありますがテレビが壊れそうなので、保険がわりにDVD買っておきまします。グレースケリーが好きなので モナコでお墓参りにも行きました

"La finestra sul cortile", prima di essere un thriller indimenticabile, è uno straordinario film sul cinema. Per comprendere il senso di questa affermazione basta porre un parallelismo tra il protagonista "Jeff" Jefferies (interpretato da un magnifico James Stewart) e uno spettatore al cinema: entrambi immobili nella propria sedia ad osservare le vicende che si sviluppano oltre la finestra, oppure proiettate su di un grande schermo. Tutta la vicenda (notissima: un fotoreporter, immobilizzato da una gamba ingessata presso una finestra, assiste alla vita del cortile e scopre un delitto) si svolge attraverso lo sguardo di un individuo. Tutto nel film si organizza secondo la logica dello sguardo, ossia - per estensione - la logica cinematografica. James Stewart è immobile, come lo spettatore nella sala buia. E, come lo spettatore, compie un'operazione di voyeurismo: nell'oscurità osserva senza essere visto, per il tramite di uno strumento ottico. Al proiettore che rende possibile l'operazione al pubblico in sala, si sostituiscono, per il protagonista del film, i suoi strumenti di lavoro. Gli occhi, ed il loro prolungamento: il cannocchiale e la macchina fotografica con il suo teleobiettivo. Ma questo capolavoro di Hitchcock è anche una profonda riflessione sul rapporto uomo donna. Il regista infatti riempie la pellicola di diverse piccole storie che hanno l'amore come punto in comune ed il cortile come centro: ci sono i giovani sposini che fanno l'amore tutto il giorno, il musicista scapolo che si ubriaca e dà feste piene di donne, la bella ballerina mangiauomini, la coppia senza bambini che ha riversato tutto il suo affetto su un cagnolino, la povera zitella in cerca dell'anima gemella. Fra tutte queste storie, le due principali: il legame tra James Stewart e Grace Kelly e la relazione dell'assassino Raymond Burr con sua moglie. Ogni finestra si apre su una sfumatura differente del rapporto di coppia, e ciascuna di queste è sotto la lente di ingrandimento dello sguardo di Jeff, che poi è lo sguardo di ognuno di noi.

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Un des meilleurs film d'Alfred Hithckock

Formidável filme de um grande realizador cinematográfico, num video muito bom.