🎦 Rear Window full movie HD download (Alfred Hitchcock) - Crime, Thriller, Mystery, Romance. 🎬
Rear Window
Year:
1954
Country:
USA
Genre:
Crime, Thriller, Mystery, Romance
IMDB rating:
8.7
Director:
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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Reviews
Possibly Hitchcock's best
Alfred Hitchcock's "Rear Window" is one of his best known films, along with the likes of "Psycho", "Vertigo" & "North by Northwest". It is perhaps his most purely cinematic film while also showcasing his mastery of the art of suspense.

The story concerns a photographer (James Stewart) who is stuck in his apartment nursing a broken leg. He occupies his time by watching the actions of his neighbours. When he begins to suspect one of them of murder he enlists the aid of his socialite girlfriend (Grace Kelly) and his nurse (Thelma Ritter).

While the film's cast members didn't land any Oscar nominations there were nevertheless several fine performances. You could say that James Stewart's performance almost single-handedly carried the picture but that would seem dismissive of the quality support given by Thelma Ritter, Wendell Corey & Raymond Burr. Meanwhile, Grace Kelly looks exquisite in the female lead and she gives an excellent performance to boot.

The direction of Alfred Hitchcock and the screenplay of John Michael Hayes (both Oscar-nominated) are best considered in tandem. The separate threads of the intricate storyline are masterfully manipulated by Hitchcock with a visual approach that puts us squarely in Stewart's position. Also, I'm not usually one who notices sound design in films but the sound in this film is superb. Little wonder that it was nominated for an Oscar, as was the attractive cinematography. The Edith Head costumes also deserve special mention.

Ultimately, "Rear Window" is practically flawless. It's highly satisfying both as a piece of entertainment and as a piece of cinematic art. Anyone looking to experience Hitchcock at his best would be well advised to start here.
2011-08-14
Classic Hitchcock
Alfred Hitchcock was one of the greatest film directors during the first half of the twentieth century. His films have become legends in their own right, and have established a style and genre all of their own. the term 'Hitchcockian' is now widely used for a film today where all the elements of a Hitchcock film have been exploited to the highest level. Very few films can break this mould and be truly considered in the same league as some of this great man's work.

"Rear Window" is probably in the same group as other memorable Hitchcock movies. They are all memorable, of course, but there are one or two classic Hitchcock movies - such as "North By Northwest" and, of course, "Psycho" - that are TRULY memorable. You can tell when a movie is memorable, for example, when "The Simpsons" parody the film in an entire episode - see "Bart Of Darkness", it's very good and very funny.

James Stewart is in the lead role, playing L.B.Jeffries, a photo-journalist who has broken his leg and spends his days staring out of his apartment window at all the neighbours. There is a very quiet, but quite apparent fascination here that Hitchcock explores brilliantly. Although it is never mentioned, and it is not strongly suggested, there is an element of something in this movie that helps to give the movie one of its classic Hitchcock themes - exploring taboo subjects very, very slightly. There's the newly-married couple who never seem to get out of bed, the ballet dancer who practises in her underwear, and the sculptor who lives underneath her. With the songwriter in his penthouse apartment providing incidental music, we also have the suicidal and lonely woman who craves the love of another, and the elderly couple who sleep outside on the balcony and use a basket to give their dog some exercise.

And then, of course, there's the Thorwalds. Here the main aspect of the plot comes into play. Jeffires becomes convinced that Mr Thorwald (played by Raymond Burr, who would go on to play "Ironside") has murdered his wife and done away with the body. Using his photographic lenses, Jeffires spies on Thorwald, trying to catch a glimpse of anything that will help prove his suspicions.

He is helped through this by three individuals. The first is his lover, Lisa Fremont (Played by the beautiful Grace Kelly), a woman who Jeffries believes is too perfect for him. The second is his masseuse and helper from the insurance company, Stella, (Thelma Ritter), who provides some of the funniest lines in the film with her dark, sometimes twisted humour. Finally, and the one who needs the most convincing of all, there's Jeffires' old friend from the air force, Detective Doyle (Wendell Corey). However, his involvement only complicates matters, as he constantly brings out evidence that Mrs Thorwald is not dead, but simply on holiday.

The final half-hour or so of the film has quite a few twists and turns. The eventual conclusion, that Thorwald IS a murderer, is something you want to happen. this is another of those Hitchcockian elements. As an viewer you WANT the man to be a murderer, because you are so sure that Jeffries is right, and you yourself get frustrated when he is constantly proved wrong. There is an extremely tense scene at the end of the film involving Jeffries and Thorwald that puts you on the edge of your seat. The use of light in this scene particularly is excellent.

This is a very good film, and something to watch either with a loved one or just by yourself. Stewart is excellent and constantly dominates the screen even if he is stuck in a wheelchair for most of the film. Grace Kelly is very talented as an actress, and there are one or two rather daring scenes for the 1950s that show you that Hitchcock was full aware of the changing attitudes towards this sort of thing. I also think that Thelma Ritter deserves a mention, as she holds the film together with her witty comments and is largely ignored by some reviewers.

But the real stars are the neighbours of Jeffires. The whole film is shot from the room in Jeffries' apartment, which is in itself a wonderful idea. Whenever we see through that window something new and interesting is happening for each of the neighbours - be it witty, like the newly wed woman who can't seem to get enough, or tragic, like the lonely woman who lives underneath the Thorwalds. The final scene shows Jeffries, not only with two legs broken, but also facing away from the window. He does not need to watch his neighbours any more. this is a nice touch, and it symbolises that all is going to go well for our friend Jeffries. Plus Grace Kelly is on his couch, so that's a bonus as well!
2005-03-24
Surprisingly captivating
`Rear Window' is an incredible mix of things; mystery, life lessons as lived within the perimeters of various stages of life, and romance. James Stewart portrays Jeff, an ambitious photographer who is temporarily on a wheelchair due to a work related accident. He believes to have witnessed a crime as he watched his neighbors' lives through the rear window of his apartment. The cinematography of Hitchcock's film is deserving of recognition, because it was the largest inside set of the time. The film's setting is inside Jeff's apartment throughout the duration of it, with one exception. Yet every single apartment watched through the apartment's window is so incredibly detailed and thanks to the filming allows the audience to capture all that goes on inside the far off windows. Hitchcock does an amazing job at carefully choosing the stages of life in which every one of Jeff's neighbors is going through. One woman is your typical lone heart; he gives us an aspiring musician, a ballerina, a newlywed couple, as well as a look inside a troubled marriage's apartment. These don't just stand for their clearly stated definitions, but also in a certain way reflect what Jeff's life is like. As he gives marriage a serious thought. Grace Kelly is portraying Lisa Carol Fremont, the woman Jeff is seeing and who represents an opposite of Jeff's character. She is rich and holds a high social status, and also deeply desires a commitment to Jeff. The chemistry created between Lisa and Jeff is reflected very well by the actors. Jeff is almost blinded to see the perfect woman throwing herself at him. The pace Rear Window starts off with is steady, yet seems to drag at about the middle of the film, making it hard for the audience to follow, again towards the end its faster pace is picked up again. This is recovered by the choice of inspirational and dynamic music continually played in the background of the film. Hitchcock demonstrates his geniality and incredible talent by the making of Rear window
2004-03-01
Alfred Hitchcock top-notch suspense/thriller embroils a magazine photographer confined to wheelchair in killing
Alfred Hitchcock awesome intrigue/comedy in which a magazine photographer seeks diversion in watching his neighbors , often with a telephoto lens and binoculars , discovering a possible murder . Thrilling flick with funny moments , nice acting , adequate settings and funny dialogue . The tale is ordinary Hitchcock fare that plays and preys the senses . It involves a bewildered as well as hapless wheelchair bound photographer (James Stewart) because of a broken leg who spies on his neighbours from his apartment window and becomes convinced one of them (Raymond Burr) has committed murder his spouse and dismembered the body . The photographer soon enlists the help of his high society fashion-consultant sweetheart named Lisa Freemont (Grace Kelly), his visiting nurse called Stella (Thelma Ritter) and a Detective (Wendell Corey) to investigate the weird deeds .

This agreeable and often hilarious picture from master of suspense has a memorable scene after another and was one of the main Alfred Hitchcock films made for Paramount . In fact , at the time the set was the largest indoor set built at Paramount Studios . The entire picture was shot on one set, which required months of planning and construction . The film was shot quickly on the heels of Dial M for murder (1954), November 27 1953-February 26 1954 . Alfred Hitchcock's movies have become famous for a number of elements and special iconography : vertiginous height , blonde bombshells , voyeurism , long non-dialogue sequences , a matter of mistaken identity etc . This charming as well as inventive mystery movie has these particularities ; furthermore contains a fun intrigue , amusing situations and keeps the action at feverish pitch . The first part of this production is slow and artificial ; however , the rest of this suspense picture takes off at high speed . Interesting and intriguing screenplay adapted by John Michael Hayes based on a story by Cornell Woolrich . Screenwriter John Michael Hayes based Lisa on his own wife, who'd been a professional fashion model when they married . The original story by Cornell Woolrich had no love story and no additional neighbors for L.B. Jeffries to spy on, and those elements were created by Alfred Hitchcock and John Michael Hayes . Alfred Hitchcock's movies were known for featuring famous landmarks and he also was known for making his actors follow the script to the word, and in this movie the characters use their dialogue taken from an engaging as well as fun script . Very good acting by the great James Stewart as as a photographer who soon becomes convinced that one neighbor has killed his wife and Grace Kelly as gorgeous and elegant girlfriend , both of them make a marvelous duo . Grace Kelly made three of her eleven films with Hitchcock; this film, as well as Catch to a thief (1955) and Dial M for murder (1954), but Rear window film was thought of as the best . Excellent support cast such as Thelma Ritter , Wendell Corey , Kathryn Grant , Frank Cady and Raymond Burr . And of course , Hitch cameo , about a half hour into the film, winding the clock in the songwriter's apartment. Colorful and glimmer cinematography in Vistavision by Robert Burks , Alfred's ordinary cameraman , showing nice images from studio . The film negative was considerably damaged as a result of color dye fading as early as the 1960s , nearly all of the yellow image dyes had faded out. Despite fears that the film had been irrevocably damaged, preservation experts were able to restore the film nearly to its original coloration . Rousing as well as atmospheric score by the classic composer Franz Waxman .

The motion picture was stunningly directed by maestro of thriller Alfred Hitchcock . The film was unavailable for decades because its rights were bought back by Alfred Hitchcock and left as part of his legacy to his daughter. They've been known for long as the infamous "Five Lost Hitchcocks" among film buffs, and were re-released in theatres around 1984 after a 30-year absence. The others are The Man Who Knew Too Much (1956), The rope (1948), trouble with Harry (1955), and Vértigo (1958). This essential and fundamental Hitchcock will keep fascinated and thrilling right up until the edge-of-your-seat climax . And the American Film Institute ranked this as the #48 Greatest Movie of All Time and ranked #3 on the American Film Institute's list of the 10 greatest films in the genre "Mystery" in June 2008.
2015-02-10
Considered one of Hitchcok's best, comes across a bit dated in the 21st century.
Generally considered one of the best of all time, "Rear Window" is a very simple story filmed in the Hitchcock manner to provide suspense. I rate it "8" of 10. Jeff (Jimmy Stewart) is a world-traveling photographer confined for several weeks to his Greenwich Village apartment by a broken leg and cast up to the hip. He soon spends all his waking hours watching his apartment neighbors across the courtyard through his rear window, using binoculars and the telephoto lens and camera. Eye-candy is provided by 25-year-old Grace Kelly, in the same year she made "Dial M for Murder", and only a few years before she became Grace of Monaco. (Current starlet Julie Bowen of TV series "Ed" looks amazingly like Grace Kelly).

As Jeff watched neighbors, he becomes suspicious of one (Raymond Burr), a salesman with a wheelchair-bound wife who disappears suddenly on a rainy night. Clues he pieces together from his voyerism convinces him that she was murdered. The police help only reluctantly, and Kelly actually goes into Burr's apartment at one point, is caught, is threatened, until police show up. Burr in the final scene tries to throw Stewart out the window, is nabbed, Stewart falls, and the very final scene shows him in casts on both legs!

To accurately rate a film you have to compare it not only to what came out during the same era, but also everything since. With that criteria, I don't believe "Rear Window" is one of the best of all time. Still, a pretty good flick.

2002-01-02
A culture that loves to watch
Only in the hands of master filmmaker Alfred Hitchcock could a seemingly simple tale about a man in a wheelchair watching his neighbours be twisted into a captivating tale of suspense and intrigue, mixed with a sturdy backbone of moral and ethical dilemmas and a social commentary on the culture that would be viewing the film. Hitchcock, who was notorious for mixing in such deeper themes with seemingly superficial suspense epics seemed to particularly relish the tale of Rear Window, a film entirely devoted to a man simply watching. At first glance, the plot sounds overly contrived, even downright dull, but under Hitchcock's careful grasp, the film never drifts into anything less than crackling with low key intrigue and tension - but always equally thought provoking as well as entertaining throughout.

Rear Window proved innovative in film-making style as well as supremely entertaining movie - a masterpiece in pacing, as well as a unique narrative style. The story plays itself out as a murder mystery, but as the plot unfolds, the solution remains abundantly clear to the audience watching the events transpire. Rather than throwing in a hackneyed forced plot twist near the end, Hitchcock is content to simply let the climax unfold exactly as the viewer would have predicted all along - after all, the joy of the film is not solving a mystery, but merely observing the murderous event itself transpire. In a day and age grown so accustomed to climatic plot twists, the absence of any is in itself more of a surprise than another forced plot twist would have been. Unfortunately, one of the film's minuscule flaws is that its ending comes across as a touch abrupt and forced; a minor lapse in pacing in a film which proves an otherwise stellar example of it.

But Hitchcock is not content with simply telling his story in an innovative fashion - his trademark deeper and darker themes make their way into a story which seems deceptively simple, brilliantly written by John Michael Hayes. In many ways, the premise of Rear Window serves as a social commentary on mass culture: people love to watch. How else to explain the enormous generation of income of the film industry than the general public's fascination with the stories of other people; often moreso than in their own lives. James Stewart's character seems to act as a representation of most audience members - too captivated by the social dramas of his neighbours and the glamour of potential murder (another trademark Hitchcock theme) to pay attention to his own life.

And there is no denying that it is enjoyable to watch, as we, the audience, get easily drawn into the private lives of these seemingly inconsequential characters ("Miss Torso", "Ms. Lonelyhearts" and "The Pianist" as Stewart refers to them) framed by the spectacular cinematography, all shot from the room of Stewart's apartment - another reference as to how little it takes to entertain an audience. Indeed, Rear Window seems to serve as a precursor to the world of reality television, and the fascination ensuing from watching shows such as Survivor or Big Brother - simply observing "real life" as it is billed.

Hitchcock also raises moral issues as to the ethics of observing to the point of intrusion of privacy in a scene where Stewart debates the ethics of spying on his neighbours, even if he may bring a murderer to justice. Hitchcock seems to be silently making raising the question to his audiences - we are a culture that loves to watch, but is it always right to watch, and are we always meant to see what we see? Whatever decisions or interpretations audiences may take out of Hitchcock's social commentaries, their mere presence in the film make the unfolding of the plot that much more interesting to follow, and add strongly to the quality of the film overall.

An already brilliantly realized film is only made more powerful by the immensely capable cast - James Stewart proves perfect casting as the ornery yet charming L. B. Jeffries, the wheelchair bound photographer with a bizarre interest in his neighbours' private lives, determined to prove one of them to be a murderer. The peerlessly elegant Grace Kelly brings sheer class to the film as Jeffries' socialite girlfriend, though how could Jeffries ever be capable of pushing such an ideal woman away, and why she continue to be interested in one who comes across as a cranky older man is truly a question for the ages. Character actress Thelma Ritter proves an unquestionable scene stealer, raising many a laugh and making use of many of the film's best lines as Jeffries' unassuming but sharp tongued nurse. Wendell Corey is a similarly strong presence as Jeffries' detective friend who is eventually drawn into the conflict. Raymond Burr, seen almost entirely in extreme long shots still establishes himself as a formidable and intimidating presence as the suspected murderer, and some of the suspenseful scenes involving his character are some of the best nail biting sequences Hitchcock ever churned up. All the supporting players, also seen only in long shots still manage to draw the audience into their personal lives, forcing them to care even when they realize they should be observing dispassionately - an inspired directorial touch.

All in all Rear Window proves to be one of Hitchcock's most fascinating yet philosophical films in a career demonstrating many of the same traits. Though Rear Window may sound slow and uninteresting at first glance, there is a certain fascination the film evokes which triggers inevitable repeat viewing after viewing. This is one window which demands looking into.

-10/10
2007-05-14
Too much build-up, not enough payout
Honestly, I think this film is overrated. I felt that a lot of the film was just tension-building to a climax that never really arrived. The tension-building itself was very effective, but I was disappointed that it never amounted to anything. In fact I did get a little bored at times.

Don't get me wrong, I don't think Rear Window was terrible, just overrated. I liked the small cast and small set, which I found really helped to convey the claustrophobia that Jeffries is feeling. It also did well in building the tension.

Read my full review here: http://goo.gl/6xbZO7
2016-04-19
Did I miss something?
I had heard a lot about this film so was really looking forward to seeing it. I watched it in the company of my wife and her sister and at the end all three of us felt the same about it as my review below. I found it a huge disappointment - it trundled along at a slow pace and I kept waiting for something to happen which would be thrilling or suspenseful etc - typically Hitchcock. I am still waiting. I kept wondering, if someone is a professional photographer with a massive telephoto lens at his disposal, why did he not take any photographs. Isn't that what voyeurs do? Also, could someone tell me the purpose of the back massages - I am no masseuse but there seemed to be no rhyme or reason to them. This movie was a horrible waste of my time.
2011-02-15
Tremendous thriller. Classic Hitchcock.
In '54, I was seven years old and this is one of the first 'grown up' movies I remember seeing. I have seen it at least ten times since and realize seeing something different each time.

James Stewart is a photographer in a wheelchair recovering from an accident. He passes the time by watching his neighbors out his apartment window. He thinks that he witnessed a murder and has trouble convincing his girlfriend, Grace Kelly, to help prove a crime was committed.

Three scenes that always stuck with me:(1) Stewart fighting off his attacker with flashbulbs (2) the smoldering kiss (3) the glowing cigarette in the dark apartment.

Every bit a classic. I think this is THE BEST Hitchcock movie. No offense intended toward PSYCHO, but this movie has the more human aspects of fear and terror. This super cast includes Raymond Burr, Thelma Ritter and Wendell Corey.
2000-06-18
the most over rated film ever.
oh my god, i may believe that sun can rise from west but can't believe the position of this movie on IMDb's list of top 250. it doesn't deserve even to be in top 1000. there is no mystery, no thrill. what it does contain is a person just keep looking out of the window all the day to all kind of people. i shall advice all mystery lovers that it can make your mystery taste very sour. one more thing is that a movie directed by alferd hitchcock doesn't guarantee its success. below average for me. all the facts given in this movie are verbal and not practically filmed. whole movie contains buildings with windows.shut the windows on this kind of movie.
2009-12-05
📹 Rear Window full movie HD download 1954 - James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady, Jesslyn Fax, Rand Harper, Irene Winston, Havis Davenport, Marla English - USA. 📀
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