🎦 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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Another Hitchcock masterpiece
Alfred Hitchcock is considered by most to be the master of suspense. I believe he was also a master of understanding human nature. He intuitively understood that human beings are voyeurs by nature, not in the perverted sense, but in the curious sense. We are a species that slows down to look at accident scenes and steals furtive glances at lovers in the park who are oblivious to everything but each other. A major appeal of cinema and television is that they offer us an opportunity for guilt free voyeurism. When we watch a film, aren't we in essence looking through a window and watching people who behave as if they don't realize we are there?

Hitchcock realized this and took voyeurism to the next level, allowing us to watch a voyeur as he watched others. While `Rear Window' as a whole is probably not quite at a level with `Vertigo' (which was far more suspenseful and mysterious with a powerful musical score) as a cinematic accomplishment, it is more seductive because it strikes closer to our human obsessions. Hitchcock's mastery is most evident in his subtle use of reaction scenes by the various characters. We watch an event that Jeff (James Stewart) is watching and then Hitchcock immediately cuts to his reaction. This is done repeatedly in various layers even with the other tenants as they interact with one another. For instance, in the scene with Miss Lonelyheart (Judith Evelyn), we see her throw out the man who made a pass at her and then we see her reaction after she slams the door, followed by the reaction of Jeff and Lisa (Grace Kelly). In another scene, Detective Doyle (Wendell Corey) sees Lisa's nightclothes and presumes she will be staying the night. Hitchcock shows the suitcase, then Doyle's reaction, and then he goes to Jeff who points his finger at him and says `Be Careful, Tom'. This elegant scene takes a few seconds and speaks volumes with little dialogue. Such technique gets the viewer fully involved, because if we were there this is exactly what we would be doing, watching the unfolding events and then seeing how others around us responded. In essence, it puts us in the room with them.

Hitchcock was a stickler for detail. For instance, he aimed the open windows so they would show subtle reflections of places in the apartment we couldn't see directly. However, there were certain details included or excluded that were inexplicable. Would Thorwold really be scrubbing the walls with the blinds open? Would Lisa be conspicuously waving at Jeff while Stella (Thelma Ritter) was digging up the garden? Moreover, wouldn't Lisa have taken off her high heels before climbing a wall and then a fire escape? This film had numerous small incongruities that are normally absent from Hitchcock films. Though these are picayune criticisms, they are painfully obvious in the film of a director known to be a compulsive perfectionist.

The acting is superb in this film. Jimmy Stewart is unabashedly obsessed as the lead character. Photographers have an innate visual perceptiveness and the ability to tell a story with an image and Stewart adopts this mindset perfectly. Grace Kelly has often been accused of being the `Ice Maiden' in her films, yet in this film she is assertive and even reckless. Though cool at times, she is often playful and rambunctious. I always enjoy Thelma Ritter's performances for their honesty and earthiness and this is another example of a character actor at her best. Raymond Burr often doesn't get the recognition he deserves for this role, which is mostly shot at a distance with very few lines. Yet, he imbues Thurwold with a looming nefariousness using predominantly physical acting.

This film was rated number 42 on AFI's top 100 of the century sandwiched between `Psycho' (#18) and `Vertigo' (#61). I personally think more highly of `Vertigo' but it is a minor distinction, because I rated them both 10/10. `Rear Window' is a classic, a masterpiece of filmmaking technique from a director who was a true pioneer of suspense.
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.
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.
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
No rear window
Many positive things about Rear Window have been said; after seeing Hitchcock's "own favorite movie" for the first time, I would only make some small critical comments. First, I don't understand the title. Because Stewart's appartment doesn't have a "real" front (the front door is situated in a corridor, where are no windows at all), the window he's continuously looking through is by all means a FRONT window. Second, only for Hitchcock's own comfort as a director, Stewart is able to observe his neighbours through his binoculars and his enormous - at least - 300 mm objective the entire day and night, without ever being asked or confronted what the hell this voyeur think he's doing! His neighbours, who live only a couple of feet across, must have noticed this man observing them way before "Thorwald" does, when Kelly is found in his apartment (giving Stewart fingersigns, discovered by Thorwald). Third, and most important, I found the final scenes so disappointing, I couldn't believe this was a Hitchcock-movie. All of Stewart's assumptions and predictions are proven to be right and that's it. No surprises, nothing new is added and, most disturbing, no explanations or motives are given why Thorwald killed his wife. In all, I was tempted to believe this movie was originally written as a musical.
Sweating the details with the Master
It was Fred Astaire who discovered that you have to photograph dancers with a static camera because dancers move and a moving camera reduces movement. Most of Alfred Hitchcock's films, (although not all: see ROPE) are like a game of billiards. The characters are like billiard balls moving all over the table and colliding with each other until they all meet at the finale. But here the camera is static and it is the world that moves. What comes out is not simply the story, but all the details- all the stories. The result is a moment in time- a few days in the courtyard of a New York City apartment building in the sweaty summer of 1954- captured forever and most vividly. How many details and how many human stories do you see in FOREIGN CORRESPONDENT, SABOTEUR, THE MAN WHO KNEW TOO MUCH or NORTH BY NORTHWEST? Just the one. When you watch those films you are in an audience in a theater, watching a story played out on the screen. Here you see it all. You are in the movie. Remembering REAR WINDOW is like remembering something that you witnessed yourself- something that actually happened to you, not just a movie you watched. The result is not just Hitchcock's greatest film but one of the greatest films ever made.

The marvelous detail of this film is just amazing. Jimmy Stewart and Grace Kelly are legends of the cinema and Thelma Ritter, Wendell Corey and Raymond Burr are actor's actors. But the real star is the set, a world unto itself. And the photography of that set, all that was needed to allow us to see into the rooms clearly- it's amazing stuff, (the lighting needed was so hot it set off the sprinkler system). But even better than that is the sound. It's not all just flat on the soundtrack, like actors in a dubbing session. Like good radio drama, it recognizes that people who are some distance away sound different. The voices coming from across the courtyard are just perfectly done and do more than even the camera work to `put you there'.

The musical score for this film is not a film score at all- it's the music of these people, also heard across the courtyard. We hear the composer composing his song. We don't hear him doing it in five minutes, as we have heard in all the musicals. Instead it evolves over time. The dramatic piano cords he plays underscore the drama to come. We also hear some opera music that does the same. Everyone seems to have their own music-everyone except Thorwald, the murderer. And what a brilliant touch it is to make the murder a pathetic man, instead of some brilliant mastermind. In the end, he is one of us, as well, in a twisted way.

I can't think of another movie that creates a world so vivid for the audience to live in. ROPE was strictly about the action in the apartment. The view out the window is just a painted backdrop. Maybe a better comparison could me made to DEAD END, but as good as that film it's not really the same. Our perspective changes too much. Perhaps my favorite scene in REAR WINDOW is the one moment, (seconds, really), the perspective does change. It's when Jefferies is struggling with Thorwald and everyone in the apartment house looks in the direction of his apartment for a change. Now there's a twist!
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.
One of the Most Thrilling Films Hitchcock Ever Directed
I saw this last night on AMC and was blown away by the plot, the characterization, the setting, and of course, the suspense. I am a huge Hitchcock fan, some of my favorites being "North by Northwest," "Psycho," "Lifeboat," and now this.

L.B. Jefferies, known as Jeff by his friends, is wheelchair-bound in his Manhattan apartment, dealing with a broken leg. With nothing else to do but look out the window, he takes to watching the lives of his neighbors around the center courtyard: the struggling musician, Miss Torso, the dancer, the eccentric couple with the curious dog, the newlyweds, Miss Lonelyheart, and of course, the Thorwalds, right across the way. Lars Thorwald and his bed-ridden wife become Jeff's focal characters to observe...until Mrs. Thorwald disappears, and Lars becomes progressively suspicious. He quickly involves his uptown girlfriend, Lisa (Grace Kelly) who opts to do some investigation, and then involves his nurse, Stella (Thelma Ritter). Helpless in his apartment, he works through them and the moderate help from his friend, Doyle (Wendell Corey), a detective. Questions continue to arise, and Jeff, Lisa, Stella, and Doyle seem to be coming to a conclusion. Yet, this is Hitchcock, and our team of protagonists aren't close to just solving the case and moving on. Oh no, the last twenty minutes or so prove to unbearably suspenseful as Lisa investigates the Thornwald's apartment while it's unoccupied, and Jeff and Stella watch helplessly as Lars comes home....

This truly is an amazing film. James Stewart and Grace Kelly give amazing performances, and Thelma Ritter is wonderful as the witty nurse. The vignettes on the lives of each of Jeff's neighbors are all quite interesting, and I found Miss Lonelyheart's story in particular to be absolutely wonderful. I also loved how Jeff was helpless, while the two women were off doing what one would think to be the man's role in the movie. Lisa, particular, is quite an innovative character. First of all, she's very funny. I love when Jeff is telling her the rough aspects of a traveling photographers life, and how when he asks her something in the way if she had ever been 5000 feet up, struggling to stay warm in twenty below zero weather, and she replies, "Well, when I get a few minutes after lunch...." She also takes that role of the elegant uptown girl and admits her sophistication and perfection, like when Jeff comments on how she never wears the same dress twice, and Lisa notes light-heartedly, "Only because it's expected of her [me]." And then, when she takes all those risks to uncover the truth in the end. Not only could I not sit still, I was so scared (which is rare for me with most horror movies) but I was amazed at how she proved that she wasn't afraid to risk anything. Now, that's one hell of a heroine, and perhaps the greatest Hitchcock woman ever.

I also loved Stella. She had some of the greatest lines in the movie, and I love when she's commenting to Lisa and Jeff on the probable gory details of Lars's act. She was definitely memorable with all her witty lines, and had me laughing many times.

And of course, James Stewart gave a great performance, conveying that feeling of helplessness, and near claustrophobia being in that apartment, unable to do anything, and just as he's safe in his apartment watching everyone, he goes through hell trying to figure out what to do when Lars comes home while Lisa is still at his apartment.

The movie is enthralling from the amazing opening to the wonderful epilogue, and the title music totally sets the scene for some fun. I recommend this movie to anyone, it is an amazing film.

What more can be said? Just this:
With over 400 glowing reviews already posted, the only thing that needs to be added is that, if ever a movie proved that "spoilers" can't spoil a superb film, it's "Rear Window."

The movie is smashing great fun even if you know the ending, because what matters is not "The End" but how we got there. I've seen "Rear Window" at least a dozen times, and it seduces me every time with the smart dialog, the performances (go, Thelma!), and especially with the way Hitchcock builds suspense in what is essentially a comic film. He is the master.

Far from spoiling a good film, knowing the ending actually allows you to better appreciate the structure and skill that went into it. After all, who doesn't know how Romeo and Juliet ends? or Amadeus? or The Gospel According to St. Matthew? Does that mean they're "spoiled"? And it isn't just true of adaptations, biographies, and the Bible. Even original stories that seem to depend on surprise-- thrillers like "The Sixth Sense," mysteries like "Chinatown," comedies like "The Sting"-- are just as good the second time if they're well-made in the first place.
Tepid stuff indeed.
I'm glad to see I'm not the only person who thought this movie was a stinker. How Hitchcock maintained his title of "master of suspense" after making this is beyond my comprehension. There is NO suspense in the movie. Jeffries suspects his neighbor is a killer, and, golly-gee-willikers, his neighbor IS a killer. Wow, what a twist. I haven't been so underwhelmed since I saw "The Burbs" (which is a far better movie and much more entertaining), and "Disturbia" at least delivers some true action.

"Rear Window" is so tepid you wonder if audiences of 1954 did not have a pulse. If they found this suspenseful, they must have been hypnotized.

Aside from the boring, uneventful plot, there are other serious issues with this movie. Stewart's relationship with Grace Kelly is totally unbelievable. He is 20 years older than she is. He should be flirting with someone his own age – namely Thelma Ritter who was about the same age as he. But Hollywood – even today – is always pairing old dudes with young women, as if that happens every day in real life. (Grace seems to have made a career of slobbering on old men – Gary Cooper, Bing Crosby, etc. What did people see in her anyhow?)

If Stewart really is a rough-and-tumble photojournalist, you'd think he'd have a better physique. His nude chest is embarrassing to look at – the only thing more embarrassing is when he locks lips with Grace Kelly.

One also wonders if Stewart's character was an idiot. He can't occupy himself any other way than spying on his neighbors? He doesn't know how to read? He doesn't have a TV? He can't listen to the radio? He IS in a wheelchair; I thought the reason for a wheelchair was so the person could be mobile; he is not bedridden.

This movie might have had some success if it had been shot in black-and-white. Then there could have been a "noir" thing going. But there is so much talk, talk, and more talk that I doubt even that could save it.

Critics have also made a big deal of the "voyeurism" theme of this film, as if that is truly shocking somehow. Again, maybe that was a big deal in 1954, but in our day and age it is just yet another tired example of motion picture psychobabble.

I admire Jimmy Stewart in Westerns – he was generally good in them. But every movie he made for Hitchock was embarrassing (yes, I include that turkey "Vertigo" in the group); while this one is not quite as bad as "The Man Who Knew Too Much" it comes close. I hope I never have to sit through this again as long as I live!
📹 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. 📀