🎦 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 multi-layered voyeuristic masterpiece
Rear Window is about an immobilised man Jeff who is restricted to his apartment and spies on his neighbours through boredom. He is sure he witnesses a neighbour called Thorwald murder his wife across the courtyard and is thereafter determined to prove he is right. He enrols the help of his girlfriend Lisa to help him solve the puzzle.

Rear Window is one of Alfred Hitchcock's biggest critical and commercial successes of the 50's. Starring James Stewart and Grace Kelly (introduced with a glorious dream-like slow-motion kiss), it followed the template of his earlier films such as The 39 Steps where it combined suspense, comedy and romance. It is also one of his most purely cinematic movies. The story is told by imagery whenever possible such as the opening pan where we see all the neighbours, then the bandaged Jeff and the contents of his apartment – in this brief bit of camera work we learn much about Jeff's situation without a word being spoken. The camera POV almost never leave's Jeff's apartment. We observe the people across the courtyard but we only faintly hear them at best. The film relies on an optically subjective narrative, where we see what Jeff sees, and we see how he reacts. The issue of voyeurism presents the film's moral dilemma. Is it right to spy on your neighbours? Obviously Jeff uncovers a murder so his actions seem ultimately justified but there is an underlying darkness to his motives. It could be reasonably argued that Jeff subconsciously wants Thorwald to have murdered his wife so that he has an exciting murder-mystery to solve that will alleviate the daily boredom of recovering from his broken leg.

Rear Window is a film about looking. It reflects the cinematic experience itself. Jeff passively watches other lives unfold from a fixed position in a similar way to how we the audience watch movies. The neighbours could almost be said to represent different genres of film – the musician (the musical), Miss Lonelyhearts (the melodrama), the elderly couple with the dog (domestic comedy), Miss Torso (soft-core erotica), the newlyweds (social realism), the Thorwalds (murder-mystery). At the very least, his neighbours over the courtyard represent a microcosm of the society of a big city. Moreover, the scenes from the other apartments offer alternative possibilities to Jeff's own bachelor life – loneliness (Miss Lonelyhearts), the restrictions of marriage (the newlyweds) and, at a horrific extreme, domestic homicide (the Thorwalds). The roles that the immobile Jeff and the active Lisa are reversed over the court with Thorwald and his bed-ridden wife. Much of the romantic thread of the film concerns Jeff's reluctance to commit to Lisa, and unmistakable parallels can be drawn between them and the Thorwalds.

Rear Window in other words is a multi-layered masterpiece. An experimental visual exercise, a romantic drama, an examination of the cinema watching experience; and of course a witty, supremely acted and immaculately directed thriller. Much more than meets the eye!
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.)
An Open And Trusting World?
As far as I know, this is a huge favorite with older folks. Kids of today would be bored to death with this famous Alfred Hitchcock film.

I went on a bit of a roller-coaster ride myself regarding how I viewed this movie. When I first saw it on the big screen as a kid, I was fascinated and almost terrified at the end. Years later, watching it twice within five years on VHS, I found it boring with Grace Kelly's dialog annoyingly corny and dated. Recently I viewed it again - a fourth try - and absolutely loved it. Next to Psycho, it's now my favorite Hitchcock film.

Yeah, it's still dated quite a bit, and, in future viewings, I might fast-forward through a couple of talky parts with Kelly or Thelma Ritter. I would prefer to stick with the focus of the story, namely Stewart's voyeurism and suspicions of what is going on in Raymond Burr's apartment. That storyline is entertaining and builds tremendous suspense. Stewart is usually fun to listen to, anyway. Kelly is there for looks.

Speaking of dated, can you imagine all the people in the apartments keeping their blinds open all the time, and Stewart keeping his door unlocked all the time as well, and people entering without bothering to knock first? True, it was more trusting and safer world back then, but it couldn't have been THAT transparent and trusting. Give me a break!

Yet, credibility aside, it's so involving and fun to watch that who cares if doesn't make a lot of sense?
An Interesting Psychological Thriller
One of the most remarkable things about Rear Window is the way in which the perspective of the cinematography contributes to a feeling of claustrophobia for the viewer as we experience everything outside of the protagonist's apartment from his point of view looking out of his window as he recuperates from a broken leg. The film is an interesting commentary on voyeurism, privacy, and gender although I wish that the plot had been a bit more developed than it was and that the audience was given more context for the murder of the villain's wife, the event which drives the action in the movie. I also wish that the conflicted feelings of the protagonist in reference to marrying his girlfriend had been dealt with in a fuller sense.
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.
Dated, slow, plastic, and predictable.

Perhaps my expectations were too high, having read reviews over the years.

That said,it is what it is, and does not stand up against the test of time. A great counter: "12 Angry Men" stands up. Sure, it has some cliché characters/lines..but the story brilliantly unfolds.

Not a true spoiler, but perhaps characters can thought of as such. The angry couple, dumpy neighbor, dancer, lonely heart, etc. ZZZZ. Reads like a sophomore play, and screens as the same.

Shots of each character, as James Stewart see them across the court yard through his rear window. Continues throughout the movie with scenes of the characters lives and daily goings on.

However, never builds to the point of leading to viewer to care.

Save 2 hours of your life, and watch a true classic. You'll be grateful to have missed this one.
12 Stars
10 out of 10 is just not enough for this movie, it deserves more!

unlike the "in your face murder" in his later movie Psycho the possible murder here happens behind a window blind. not a drop of blood or act of violence is seen (well until the reveal) which adds tension to the movie.

Jeff's speculations regarding a possible murderer among his neighbors are met with the voice of reason and evidence from his detective friend. Everything is pointing towards this being a wild goose chase and just when he's about to give up on the idea something arouses his suspicion again.

Hitchcock is the master of thrill and horror and he will have you wavering between siding with Jeff or with reason throughout the movie, never truly settling on a side for too long.

Beautifully shot, smooth editing... and Grace Kelly is her radiant self in it! Truly an under-rated masterpiece that gets over shadowed by his heavier movies but if you want something interesting, re- watchable and in it's own way light hearted then this is the one for you.
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.
Disenchanted with Hitchcock
I watched "Rear Window" again last night. Seeing it again only serves to confirm this growing sense I've had for quite a while. It's the feeling that, actually, for all his innovation, Hitchcock, by today's standards was a sloppy, inattentive, rigid and formulaic director. His movies cause me more annoyance than anything else.

The egregious and prolific cinematic "goofs" in this movie are beautifully itemized elsewhere on this site. It was the same sort of embarrassing inattentiveness in "North by Northwest", "The Birds" and many other Hitchcock movies. He would miss little details from scene to scene which are much less frequent in movies directed by today's top-tier counterparts.

Hitchcock's well-known abhorrence for outdoor shots resulted in the creation of painfully artificial indoor sets - to the point of looking rank amateur.

I'm sure he thought his camera angles at critical moments of his movies contributed to the dramatic intensity of the scene: the camera looking down into the shower in "Psycho", the camera looking down again at Stewart as he is approached by Raymond Burr - it gets repeated in several movies. By today's standards, frankly, the shots are rigid, routine, predictable and boring.

Hitchcock's principal actors are interesting which, I suppose, is why he used them again and again. But many of the other relatively minor characters in his movies are wooden, silent, under-developed and under-utilized to the point of being quite dispensable. They are nothing more than interchangeable props: the two thugs in "North by Northwest" for example or the honeymooners in "Rear Window" illustrate my point.

Nope, I've made-up my mind on this: compared to a Spielberg or Ron Howard, Hitchcock, for all of the praise he has received comes across to me as a so-so director who really didn't have the eye for detail and precision required of directors today and expected by their more technically sophisticated audiences.
📹 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. 📀