🎦 Rear Window full movie HD download (Alfred Hitchcock) - Crime, Thriller, Mystery, Romance. 🎬
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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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.
Rear Window
Hitchcock takes all the ingenuity of previous films like Rope and Lifeboat, and translates them to Rear Window, one of his true masterpieces. Taking place in one apartment where the viewer is forced to see what Jimmy Stewart's character sees, we are the voyeuristic witness to all the goings-ons of his neighbours. Frequently we look into their homes and become a passive viewer of their lives, wondering why they do what they do, what they will do next, and whether anyone can see us. Not only is it a technological treat, it is a pinnacle of tension and suspense, complemented by the twisting plot, excellent dialogue, and marvellous performances from all.

Stewart plays LB Jefferies, or Jeff, a well travelled photographer who hates the idea of settling down, of being trapped in the same place for any length of time. Ironically he has broken his leg, and is forced to stay in a wheelchair, in his apartment for a few months. Through his boredom, and his window, he watches his neighbours and the daily actions, giving them nicknames because of their behaviour. There is Miss Torso, an amorous young dancer, the newly-weds who like to keep themselves to themselves, Miss Lonely Hearts who spends her days planning how to catch the attention of men, and spends her nights failing. There is a tormented pianist whose music fills the air, and couple and their annoying dog. Lastly there is Lars Thorwald and his wife who are often arguing. Lisa is Jeff's girlfriend, a socialite who wants the opposite of Jeff- marriage, new dresses, and a place in high society. Their nurse Stella also visits to add some humour and spark. Jeff becomes suspicious when Thorwald's wife disappears, and at night he sees Thorwald acting strangely; taking small packages wrapped in paper from his flat, going back and forwards. Jeff becomes convinced that Thorwald has murdered his wife, and with Stella and Lisa begins to try to prove what they believe to a detective friend. They search for a body, for evidence that Miss Thorwald is alive etc, and soon we too are captivated, wondering if she is dead, or if it is all just a mistake.

The last 20 minutes of Rear Window must rank among the most suspenseful in movie history, and its influence can still be seen today even in modern horror movies such as Ringu. The voyeuristic qualities are impressive and effective, and we are truly brought into the room with Stewart. There is excitement, comedy, romance, mystery, all the trademarks of Hitchcock, all flawlessly shown. Kelly is beautiful and feisty, her entrance memorable, her character strong, and in the end we see that although she will succumb slightly to Jeff's needs, she will remain independent. Stewart is wonderful, giving yet another landmark performance conveying paranoia, annoyance and helplessness like few other actors can. Burr is frightening as Thorwald, and Ritter is extremely good as Thelma, adding much needed relief from the tension with tongue in cheek humour. Each of the neighbours is distinct and we come to understand them. Full of cynicism about people, love, romance and relationships, though not harsh, Rear Window is one of the great films of the 50's, and is still highly watchable and entertaining today.

9 out of 10
In the mid-fifties, Hitchcock brought remarkable suspense by reverting to the logic of a silent film (with an observer behind the lens as the hero)
Many reviewers and critics have commented on Alfred Hitchcock's theme of the voyeur in Rear Window (the mere thought of a voyeur in a suspense film conjures up images from other classic Hitchcock films), and I felt that voyeuristic bug as well. But I realized something that I hadn't thought of as I watched it for the first time- this is a return for Hitchcock to his skills as a master of silent-film chills. As L.B. Jeffries (Jimmy Stewart in one of his most infamous performances) is in his wheelchair viewing out one perspective to other inhabitants in the apartment, the audience views right along-side him. So, for more or less 50 percent of the film, the only sounds we hear are the sounds of mere realism, as Hitch's camera keeps a close eye on things.

As the thrills build in the second hour of the film there is considerably more dialog than the first hour. This could, and occasionally does, present a challenge for the audience member that could either be accepted & payed off or resented- can one sit back and just watch things unfold as in a film from the 20's? Personally, the experience of seeing these events unfold and increase was near electrifying. Along with Stewart's performance, which ranges from amusing to terrified, compelling to frightened (i.e. Hitch's 'everyday man'), there's Grace Kelly as Lisa, who carries her own beauty & inner conflicts, and Raymond Burr as Thorvold, who could have things going a little better with his wife.

If we empathize with Jeff, it's because we become as much apart of his mind-set/POV as he already is, and that's the ticket to the film's true success. Not only is there a magnetic kind of skill to which Hitchcock (and cinematographer Robert Burks) presents us with the apartments' supporting and minor characters and how their fates are played out against the enclosed backdrop, but the psychology of Jeff becomes parallel, or against, to the audience's. This is the story of one man's temptation and compulsion to be involved with those he can see (much like movie-goers have with any given film), and how perception of the realities around him become ours. Rear Window may have become dated for some movie-goers, particularly since the theme has been played on by other movies and TV shows (like The Simpsons for example). Yet there is a certain effectiveness to it all, even in the earlier scenes, that holds an edge over imitators. A+
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!
Note, death, humor, suspense and genius.
"Rear Window" might is not the best film of Alfred Hitchcock, but it's my favorite and I think impeccable, starting with the script that develops several different characters just showing a few minutes via a window, and the script shows the daydreams LB Jeffries, who is with a broken leg and kill the boredom observes its neighbors to notice a strange behavior ... no need to even say that the suspense in the film is even more amazing in the final 30 minutes, you can not even blink, and the best is that Alfred still put shades of humor in the film that fall very well. The picture is beautiful, without words, that vision for the buildings and their indiscreet windows has its own life, or look like a movie, it seems that Alfred Hitchcock filmed a building any in an American suburb, the soundtrack although not very participant in the film, she is accurate, the main plot the film will count through small steps the stories of several families, all very fast and complete, you feel the LB Jeffries himself, the performances are very good, although redundancy praise actors like James Stewart and Grace Kelly, the movie is great, mixing humor, romance, drama and suspense in a very effective way, I recommend any movie Alfred Hitchcock, but this, I place a starlet.

Sorry my English translator google.
Overrated Suspense Flick
Rear Window is certainly well shot and the suspense is there. However, the mystery isn't. It's very predictable. That's fine, but unfortunately Stewart isn't a very convincing actor. Coming off of "Vertigo", I was thankful he was portraying a photographer (Jeff). Well, this is supposed to be a "tough" photographer who wears boots, treks through jungles and eats grizzly tribal foods in foreign lands. He doesn't look or act "tough" in any way.

There was a scene near the beginning of the film where Jeff was supposed to doze off, not being able to stay awake and watch out his window any longer. It looked more like he was having a stroke than falling asleep. If a Hollywood actor can't convincingly fall asleep, that's a problem.

The film is filled with just downright unrealistic events.

To go through some of the more extreme examples: At the end of the film after Jeff falls from the window, the policeman pokes his head out to report a full confession with multiple details. This was 10 seconds after they pulled the killer off of Jeff. All that in 10 seconds? I don't think so.

Prior to that, Jeff was hanging only by his fingers/hands on the ledge. He has a big, strong looking man pushing on him but somehow his fingers have superman strength (yes, that is a 1998 Rear Window remake jab at Christopher Reeve). Of course, it's only when the police stop the killer that he falls.

The scene prior to this with his camera flashes was the dumbest killer/victim scene I've ever seen. Basically, the killer is standing at one end of the room and Jeff in his wheelchair at the other. He puts a bulb in his flash and sets it off, temporarily blinding the killer. The camera focuses close in on him rubbing his eyes, stopping him in his tracks then recovering. He takes one more step, and this whole process repeats about 4 or 5 times until he finally reaches him. Of course, it's at this point that the police coincidentally show up and he's able to scream for help. It's comical.

Earlier in the film, Jeff's girlfriend is being strangled/attacked. He and his nurse just watch. He squirms like a pansy and says "Oh gee, what do we do?" Oh gee, golly whiz, what do you do? Well for one, if someone's life is in serious danger, you don't do nothing. You could scream. Yes, screaming out and saying "HEY A**HOLE, I CALLED THE POLICE! WE SEE YOU ATTACKING HER!" would actually be a rational thing to do. But, the police magically show up literally 15 seconds after he calls them and save the day.

The problem is all of these unrealistic scenes were unnecessary. They could have easily been replaced with realistic alternatives. Great movies don't require the viewer to throw rationality out the window (no pun intended). For that reason, I feel the film is quite overrated. I also think the Freud analysis of the movie some people have like "it's a take on society's obsession with voyeurism" is complete nonsense. No, it's actually not. It's actually a crime-suspense film about a nosy, bored neighbor stumbling upon a murder - not a message to viewers about society's inner perversions.
A Redundant But Insightful Reflection On Rear Window
I am sitting here wondering why I am commenting on Alfred Hitchcock's Rear Window. It is a definitive classic of enduring interest, quality, and style. The last sentence is as redundant as this review will be. I mean, what can I say that not only hasn't already been said but isn't already known? Its masterful voyeuristic cinematography, its impeccably atmospheric sound and John Michael Hays's screen adaptation of Cornell Woolrich's short story have been quite sufficiently recognized over the past half century. I suppose there is one thing that people don't tend to think about, or at least it is one thing I haven't heard anyone say, and that is that Rear Window is a virtuoso portrait the human element of privacy, and feeling naked when we notice that it is invaded. What's more, that invasion is another element of human nature: Voyeurism.

What else is left to debate for incessantly lovable Jimmy Stewart, a successful photographer whose restlessness takes him all over the world and into situations where he takes pictures no one else gets, recuperating from a broken leg during a scorching hot summer? Here is a restless daredevil who makes a living with his eyes, laid up in a wheelchair in a small, apartment. This is 1954. He's not going to sit at the computer and blast people on IMDb message boards. He does what any one of his neighbors could be found doing in his situation: Alleviating boredom by spying on the lives of his neighbors. Furthermore, his view is perfect! Through his rear window, he can see into the building across the courtyard of the complex and glimpse from front row seats the residents' daily routines. There's the ubersexy dancer who exercises in her underwear, the couple who sleep on their small balcony because they don't have air conditioning, a lonely woman who lives by herself (who alternately gains great sympathy from us and generates cruel laughs at her expense; true to the spirit of voyeurism), and a frustrated songwriter always at his piano. And, there is the salesman, a pitch-perfect Raymond Burr, who lives directly across the courtyard from Jimmy Stewart, the one with the pesky, harassing invalid wife.

I can safely assume that nearly everyone who reads this generally knows the gist of the plot. It is a fine plot, ever condusive to everything Hitchcock. What is so significant about it to me is how it takes two seemingly conflicting sides of human nature and turns the suspenseful corner by dangling by a thread the inevitable, which is that an everyday person, no matter how fixed they are in their day-by-day algorithms, just may eventually discover that feeling of nakedness, of intrusion.

Though there are films by Hitchcock that I favor more, like The Lady Vanishes, Shadow of a Doubt, and Rope, Rear Window stands as pure cinema: Blatantly and shamelessly visual, full of layers of audible details from the ambient to deafening.
Through a Glass Not Darkly Enough
First let me get this out of the way. I'm a huge Hitchcock fan. But this simply is not one of my favorites. Usually movies based on noir writer Cornell Woolrich's plots work very well with his unusual twists and turns and core themes of nothing being as it 'seems' until in the end we see 'the truth' behind the facade. There's a little of that here, but just a little. It's as straightforward as possible. Yes, the set for this movie is wonderful. But the 'star' turns from Stewart, Kelly, Ritter, even Burr et. al, are a bit artificial. James Stewart, I have to admit, I've never liked in Hitchcock movies like 'Rope' or 'Man Who Knew Too Much' - his aw shucks, limited acting vocabulary doesn't stretch far. Grace Kelly - I don't believe she is in love with this man for a minute. Her accent is strange throughout and distracting and she is wooden - trying so hard to look beautiful she doesn't dare let a real expression cross her face. Her saving the day from afar is the last thing I'd expect this Patrician Figure to attempt - maybe Teresa Wright or even an Anna Massey, but not Grace. Thelma does her shtick - but does it to better effect in ALL ABOUT EVE. Burr seems a bit uncomfortable in the role of the one-note hapless villain and Judith Evelyn seems lost as sea as well in her rather thankless cameo as Ms. Lonelyhearts. She does her usual hysterical turn, but not as well as she does in THE TINGLER or FEMALE ON THE BEACH. There are some boring stretches along the way and too much artifice here - notwithstanding the interesting 'claustropobic' set, done just as well in LIFEBOAT as far as I'm concerned. The actors never seemed real people but 'stars' playing themselves. As such, they didn't provide enough interest for me as characters and helped keep the movie a bit 'flat'. The so-called climactic scene of Burr confronting Stweart was a real let-down. I can name a lot of H's movies that seemed scarier and more real, and had great photography too, such as THE BIRDS, MARNIE, and the excellently acted FRENZY. Not to mention the tension, editing and groundbreaking cinematic 'vision' seen in his early black and white pictures. But this seems to be everybody's favorite and that's fine with me, there's no right or wrong opinion. This one just doesn't grab me.
Amidst the illusion darkness is always present
Spoilers Ahead:

Hitch opens his masterpiece with his usual signature a seemingly normal human apartment complex with many different kinds of ways of being all smashed together apparently living together quite peaceably. The musician, Miss Torso, Miss lonely heart all communally existing in tenuous quiet though some early stress between thorwald and the sculptor shows even early warning signs that perhaps thorwald is a bit of a misfit. The byplay between Jefferies and Stella is not meaningless chatter. Stella argues that coupling should be largely unconscious while Jefferies argues for Hitch's old attacking point human rationality should guide people to form union. This is the view that Hitch always attacks in many of his works; like Kubrick he is not an adherent to the rationality of humans. The touch that marks great thrillers from lobotomized gore tests for those in a coma is present. Little oddities that begin very slowly and grow to mammoth heights. Thorwald is the anomaly something is wrong with Thorwald. It starts quite innocuously; he tells the sculptor lady to shut up or mind your own business.

This all happens behind the failing romance between Jefferies and Lisa. It is the foreground but recedes as more and more oddities by Thorwald switch it to scenery. Notice the grounds of the pending dissolution ontology or disparate ways of being; she is a high society fashion model, he is a serious photographer for magazines. Hitch always seems to be alluding here as in SHADOW OF A DOUBT that great tension between people like uncle charlie and traditional society are the source of disturbances. As Thorwald appears to be obviously cleaning up the apartment after killing his wife, hitch produces what appears to be a perfectly rational exposition from the detective dispelling all of the actors and viewers paranoia. Notice again, the idiot of the picture is the scientific rational detective while Jefferies and Lisa rely much more on emotional intuition. The detective in a very sexist manner stares a Lisa's undergarments with a sneer on his face for Jefferies that says what could not be uttered back then: you are not thinking with your brain letting some woman ensnare you within her feminine intuitive irrationality.

The look on each character's face Jefferies, Lisa and Stella when they are forced that within this idyllic 50's Americana scene lurks a murderer who is currently cleaning up after dismembering his sick wife is an exact parallel to SHADOW OF A DOUBT. Hitch enjoys giving us our happy little toys to play with then dropping a rattlesnake in the middle of them. In PSYCHO just as Marion is gloating to herself about how she made fools out of all the people at her real estate office at that precise moment Hitch has the rain begin which starts the concatenation of causes that ends with her dead stabbed to death in the shower. Hitch wants us to experience disillusionment as he shows us neither the world nor people are quite as we imagine them to be. Our plans and views of our control over it the detective with his scientific rationalism and Marion with her joy at her deceptive ability come crashing down. In Marion's case Hitch always sanctions evil within his films; she pays the price for her deeds. Rear Window's detective is more how the world does not obey the scientific paradigm and sadly people are barely rational.

The climax of having Jefferies point himself out by accidentally answering the phone is brilliant; The photographic effects still in their infancy then of Jefferies using flash bulbs to buy himself some time a great masterstroke from Hitch. He then speeds up the attack; making appear quite lifelike no kung fu was needed also happily we did not have five minutes of jumping or other gymnastics. A great film from Hitch; a very enjoyable experience.
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.
📹 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. 📀