🎦 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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Excellent Cinematography
Throughout the film, the director gives excellent shots to portray the characters emotions through visual means rather than speaking it aloud. As well as this you get a glimpse into several people whose homes are arranged behind his. Actor James Stewart gives a compelling performance as well. Showing both emotion and feeling through his being stuck in a cast and missing out on his normal adventurous lifestyle.

While some scenes lack in interest and absurdly long focus on the dancer whose main character choice is bending over, this does show how his inability to live how he enjoys puts him in a state of boredom and often lust for the outdoors, and of course companionship.

That paired with a script that is fit perfectly to the theme I'd say this film is worth the watch for any movie lover. I give Rear Window a nine out of ten rating.
It didn't work for me, the suspense was missing. Great direction and acting.
I am aware that many people like this film a lot, and after many years it has indeed become a classic, and that's why I saw it for the first time yesterday. And I found it updated which is not very strange since we are talking about a film made in the early fifties. There is not much suspense in the plot mostly because as the story goes by, it is very obvious who the murderer is. The definition of suspense is: that the spectator should be guessing who the guilty person is, or even better: guessing who the bad guy is. In this film, we do know who the bad guy is, but we don't know if he really did it or not. Real suspense would have been that the guy that everyone thought that did it, in fact didn't did it at all, and that the one that looks innocent had done it. Now that would've been a twist! There are a couple of other things that killed the suspense in me. Why a man that is a photographer and tries to convince a policeman that his neighbor killed his wife and has no evidence and is looking through the window with a telephoto camera, doesn't take pictures of the scene of crime and use them as evidence. And how come that a man that is going to murder his wife and cut her in small pieces doesn't draw down the window blinds so no one can see what he is doing and testify against him. But I have to admit, Hitchcock gets away with it anyway, because he makes you see things that only a great director like him can. He will make you believe that Jeff and Lisa are right and everyone else is wrong just by watching this couple's attitude, created through their acting. And there is the strength of these actors; they are extremely reassuring in their personalities that as such, it impregnates the whole film. Just by the way they pose and sit and look you can almost smell that whatever they do is right. On the contrary, Thorwald hasn't a chance because from the very first scene he is doomed; he is the bad guy even before the film has started! And I intuitively guessed it and killed the suspense, sorry. I liked "Vertigo" even if some scenes are a little bit slow and long and I liked "Psycho", that's a masterpiece. But "Rear Window" it's just too obvious.
Reading from Top to Bottom...Hitchcock's Sophisticated Masterpiece
Not only does REAR WINDOW (RW) have Alfred Hitchcock's trademark wit, suspense, and romance (with a touch of friction) in spades, but it's one of his most well-crafted, cleverly-staged movies; in fact, even though RW is based on a Cornell Woolrich story, I can't imagine this story being told as effectively in any medium other than cinema. However, the technical accomplishments (explained most entertainingly in the DVD's documentaries) would be nothing without the engaging characters. James Stewart's neighbors are interesting enough to warrant their own movies, and in addition to providing a wry microcosm of New York City life (the only dated thing about it is the lack of air conditioning), they all reflect possible outcomes for the somewhat stormy romance between laid-up shutterbug Stewart and the luminous Grace Kelly as his upscale fashion maven inamorata. As Brent Spiner said while hosting a showing of RW on TNT, the real perversion of the film is Stewart's reluctance to commit to the irresistible Kelly! In fact, one of the things I like about the movie is the way it shows these two very different people gradually learning to compromise and work together. The piquant final shot shows that a woman can have a happy relationship with a man without submerging her own personality -- refreshing for the 1950s! Great supporting cast, too, including Wendell Corey, Raymond Burr in one of his last bad-guy roles before PERRY MASON, and the scene-stealing Thelma Ritter. Incidentally, the restored special edition RW DVD was put together just in time to include Georgine Darcy ("Miss Torso"), then one of the last surviving cast members. Darcy died earlier this year; she will be missed.
An Allegorical Tale Of 50's McCarthyism
Hitchcock's masterpiece 'Rear Window'is a poignant example of how film can truly reflect a society and its questionable values. I think that for a modern viewer Hitchcock, through such films as 'The Birds'and 'Psycho' has attained a mythic quality of artisan beauty within cinematic dramas that analyse the social fabric of society.

When watching 'Rear Window', I was amazed at the allegorical depths that can be read through this amazing film. 'Rear Window' although in narrative, primarily focuses on the murder of Mrs Thorwald I believe the most socially conscious message discerned comes from the questionable investigate processes of vigilante L. B Jefferies. I think Hitchcock develops into a cinematic genius when one reads these questionable detective processes as an allegory for nineteen fifties McCarthyism. One could discern that Hitchcock has created 'Rear Window' as a monument to this oppressive period in American History and through the ineffectual Detective Doyle the last remnants of morality . I believe Hitchcock could be seen through Jefferies as utilising the camera (both on and off screen) as an ambiguous weapon against crime. However, it is the way we perceive Hitchcock's weapon against 'crime'; as either anti-voyeurism or anti-murder that will develop what message is received.
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.
Impressive Movie
This is one of the best murder mysteries I've seen because of Hitchkock's artistry. Like 12 Angry Men, it's very simple. The simplicity is used to Hitchkock's advantage. He draws up an intricate murder plot just from one scene. That deserves credit. It's an original and creative way to view a murder story. The acting was also great.
An original, intruiging work... brilliantly cinematic
Yes, Rear Window is probably the film that has finally made me accept Hitchcock's genius. I loved "Vertigo", appreciated "Psycho", was irritated by "Spellbound", was partial to "Strangers on a Train", was intruiged by "The Wrong Man" and fairly enjoyed "North By Northwest"... "Rear Window" is probably his finest work that I have yet seen... open, as it is, to many, varied interpretations.

While "Vertigo" had a more domineering score, photography and general artifice, "Rear Window" has a greater impact for me. While "Vertigo" was gripping, this one was positively electrifying in that department. The fact that Hitchcock managed such a multi-faceted, intruiging effort with the original conceit he adopted - to make a film from one set, and one single vantage-point - is astounding. I've not heard of the novel it was based on, but this is one hell of a script. All of the characters, and that's partially including the ones viewed by Stewart's L.B. Jeffries, are fully fleshed out and flawed. I found Thelma Ritter's performance amusing, and believable, providing the Bel Geddes (in "Vertigo")-type role early on, and then developing interestingly. Grace Kelly's Lisa is a fascinating character, more than you'd initially suspect. Undeniably beautiful, but also frustrated, passionate, devious and desperate in equal part. While Jeffries, or perhaps his accident (a typically important little detail that Hitchcock uses brilliantly, like Stewart's vertigo in "Vertigo"), starts the whole voyeuristic business, Ritter and to an interesting extent, Kelly collaborate with his fancies. Stewart's role is a great one, that of a deeply flawed, and disturbingly obsessed voyeur. It is sure that, at least with the films he made for Hitchcock, Stewart fulfilled all of his promise as an actor. From the wonderfully casual early scenes, to his gradual obsession with a particular house, his acting is brilliant in conveying the character's less-than-positive traits. It seems absurd at first that he be resistive at all to Kelly, but gradually their relationship is made complex, with perhaps Kelly's motivations in the film's later stages intruiging to consider, if she is or not as "perfect" as Stewart earlier claims. There is twist after twist in characterisation, theme and plot, with the final 15 minutes particularly striking in this regard. The conclusion is brilliantly ironic. Audience expectation and sympathies are toyed with exceptionally by Hitchcock at every turn. The themes are manifold, with voyeurism the guiding one. Themes are linked with character, and are effectively tackled; Wendell Corey's character pretty much emphasising the voyeuristic theme with a pertinent quote that I can't exactly recall.

The direction is superb, as you would expect from Hitchcock (its his fascinating, complex use of narrative, character and theme that eleveates this work above so many of his other films), engendering many different moods, but none untainted by corruption in some way. The photography is impressive, giving the restricting settings a pungeancy. Hitchcock and his photographers always tending, at least with "Vertigo" and "Rear Window", to capture colour in a more vivid, expressive and importantly, atmospheric light than most in the history of colour film. Perhaps pivotal in my view is the brilliant use of music, distant, from the houses Stewart spies on, especially the haunting piano tunes (referred to yearningly by Kelly's character) from one home. This adds contrast and depth to many scenes, both within and without of Stewart's flat.

It seems a waste that there are so few films that try, and succeed, in capturing this film's mood and devices. In many ways, I felt David Lynch's "Blue Velvet" to capture some of its suspenseful brilliance. Terence Young's 1967 film, "Wait Until Dark" was very nearly as tense and exciting, and also well worth checking out if you love "Rear Window". No doubts are there, that "Rear Window" is one of the "classics" more than deserving of its status. Rating:- *****/*****
Very Overrated
I saw this film and thought little of it. I thought that most of the story was... bad. A man believes one of his neighbors committed murder. Okay, so you call the police. COMMON SENSE!!!

But then, what if the police don't find evidence, or don't believe you? Then FORGET ABOUT IT!!!

But then, what if you decide to be stupid and, despite being in a wheelchair, decide to stop him ultimately by force and your camera's flash, which surprisingly holds him at bay long enough for help to get there after, of course, you are knocked off a low balcony that you would survive the fall from. SO the killer will get caught after all. Oh yeah, if I killed, I would let the witness survive and get caught.

No common sense was put into this. Without it, most movies aren't very good. This is no exception, and stands as a very overrated movie.
Looking Through the Rear Window
Hitchcock was a master of his craft- everyone is aware of that- and his ideas revolutionized and popularized the thriller genre, one of my personal favorites. Skimming through his rich filmography, every addition is fueled by unmatched suspense. This is no different with one of Hitchcock's highly-acclaimed classics, Read Window. The film promises so much potential with its opening act in which the camera is technically the first participant and onlooker as it manages to give us a considerable amount of backstory without any verbal language in its first five minutes or so. It carefully observes a fascinating environment/setting- one in which every neighbor's life is visible through their open windows. The way the set was built and is in appearance is simply genius and (almost) never was the set of a film as crucial to its story and themes as it is here.

Right from the get-go, you witness an underlying theme in that this picture conveys the isolated and individualistic nature of neighborhoods in our current world. No one seems to be interested in their neighbors besides Jeff (and he even mentions this in one of his clever lines) so much so that they aren't even concerned about what they're actually partaking in those rooms of theirs; the neighbors are never aware anyways. However, on the opposite side, it can be argued that people in current society are frankly too obsessed with another's conversation or activities. Apparently, we stick our noses in everyone's business, and it can be argued on a political scale as well. We do, in fact, watch our foreign neighbors far too closely with invasive binoculars, and in this manner, Jeff could actually be perceived as the villain of Rear Window in a way. In sum, there are countless perspectives one can judge this film from, occasionally conflicting with one another due to their opposing scopes.

Anyways, I can't place my eye on the exact reason, but actors were so much more capable of delivering with a charming character back in those days because the audience immediately recognizes the charisma of the film's protagonist as he daringly speaks out with clever, hilarious, and/or downright convincingly serious lines. His lovable personality is loud and clear with the story's development, and eventually, it's met with the beauty of Grace Kelly's character (Lisa). On a side note, as the intriguing plot progressed, the whole idea undoubtedly reminded me of Disturbia (2007).

Moving on, albeit its heavily suspenseful and compelling nature, there were some faults I happened to identify. First of all, did the entire case really mean that much to Jeff to the point where he just couldn't bring himself to yell out when Lisa, his future wife, was endangered by Mr. Thorwald's intimidating and threatening presence? There was a sense of awkwardness in that I was viewing this curious fellow experiencing anxiety with visible sweat pouring down his face though he still continues to watch on as his love nears possible death.

In addition, the result of this riveting mystery felt somewhat anticlimactic, and this slightly stemmed from the expectations one usually possesses upon viewing a Hitchcock film for there is usually a twist that shocks and awes the audience towards its end. We never got that from Rear Window as everything was exactly as it seemed. It could've been the main point of the feature, but still, I predicted the garden being the burial spot of the poor woman in the movie's first hour. And if the message of the film was that everything is truly as it seems, then why did another theme intrude the ending where you see a short, fat lover show up at the breathlessly gorgeous model's apartment? There and then, it seemed as if not everything is what it seems; so, already you have two contradictory (possible) themes on your plate. Which one was Hitchcock's actual intention? After all is said and done, Rear Window is a fantastic thriller with a not-as-satisfying end result, but it definitely impressed me the way most Hitchcock films have already. (North by Northwest is definitely next on my list.)
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!

📹 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. 📀