As we watched Rear Window, it was striking how much movies have changed in the last 50 or so years. In modern times Rear Window would probably be billed as an Art Film. There's no special effects to speak of, the only action is at the climax of the movie, much of the movie is dialog between two characters. Where to start. First, no matter what it may look like, the movie wasn't shot on location at all. It was an enourmous sound stage at Paramount.
The film has been paid homage a number of times, from Disturbia (2007) which earned a lawsuit from the copyright holders, to an episdoe of The Simpsons when Bart breaks his leg and is laid up. Don't forget there is also the remake with the late Christopher Reeve made for ABC which aired in 1998.
From the outset of the film you're drawn into the voyeurism of Stewart as he watches out his hot and muggy window to his Greenwich Village neighbors. You're quickly drawn in with titilation as you watch a topless woman put on some clothes (seen only from behind of course). You are fascinated with the stories and goings on of the people being watched. The newlyweds, the husband taking care of his wife, the spinster and the artist. It's almost like watching a silent movie for much of the spying. The sound is distant if there at all. The cinematography is extremely effective as the focus of the shots are quite often only the center of the screen and framed such that it's hard to make out the details. You need to really work on seeing what you shouldn't be looking at.
I'm sure everyone was or is shocked to hear the leading actress in the movie is a blond. I've mentioned Grace Kelly in the past when writing about High Noon so I won't guss but wow...she was a looker. Hitchcock certainly had taste in leading ladies. From Ingrid Bergman through Grace Kelly (Dial M for Murder, Rear Window, To Catch a Thief) and Doris Day (The Man Who Knew Too Much) to Kim Novak (Vertigo) and Eva Marie Saint (North By Northwest) or Janet Leigh (Psycho) to Tippy Hedron (The Birds, Marnie). Hitchcock knew how to pick 'em. His leading ladies were all gorgeous and that was what he needed. With his directorial attention to detail and the poses most of his leading ladies were required to make to showcase the Edith Head wardrobe. Sorry but when Kelly poses in an evening gown as she visits Stewart...
So we see the neighbors go about their business. We see the dancer entertain and fight off men. We see the spinster struggle with lonleiness and the newlywed husband called back to the bedroom...again..and again. We watch in fascination as the salesman tends to his demanding and invalid wife. The reversal of roles is interesting. The invalid Stewart, tended by Kelly, as they watch the invalid wife, tended by Thorwald (Raymond Burr). Add the nurse played by Thelma Ritter and the Detective played by Wendell Corey and the cast is complete.
I'm not going to run down the plot since it's almost a part of a Jungian collective unconscious. But the movie is marvelous. The pace is slower than what we're used to now but its strength is that pace. It makes you part of the situation. You feel almost guilty. You were the one watching private things that couldn't be explained in public. During the climax of the film your emotions aren't what you would expect. Don't you almost deserve what's happening?
I can't see the film not being included on the top 100 list in years to come. It's an example of how a film can be complex without action and with large portions being almost silent in nature. Having the audience ride along with the hero is an effective means to entertain.
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