Rear Window evaluation action

2021-10-13 18:31
"Rear Window" is one of the masterpieces of suspense films. The film successfully created an atmosphere of horror and suspense, and vividly unearthed the voyeuristic psychology and desire hidden deep in the individual's heart  . The film contains all the skills and techniques that Hitchcock is good at, and it is also the film with the most vivid expression of the "voyeur" theme. The film not only allows the audience to see the hidden side of life and human nature, but also provides a model that can be imitated for many later film directors  .
"Rear Window" combines voyeurism and murder with interest, and is a model of Hitchcock's later works. The murder behind ordinary life, with a slightly dark side of humor, ingenious story design, and unexpected and unpredictable ending are deeply imprinted by Hitchcock's works. At the beginning of the film, a large voyeuristic portrayal is leisurely and contented, without the harshness of most thrilling films. The next episode turned ups and downs, and all the clues were waiting for the audience to speculate. In addition, the plot design of Jeffery's use of flash to delay the time also shows the director's ingenuity  .
"Rear Window" is one of the greatest movies in the world  . It is a movie with many institutions, but it is difficult for the audience to find any institutions  . The film not only contains thinking about the desire to peep, but also involves a deep understanding of love. In the movie, the audience can see lonely single women and musicians, a young and loving couple and salesman couple who quarrel every day, as well as Jeffery and Lisa who are constantly arguing about their marriage. The film is actually a trilogy of love and marriage: unmarried people are lonely and lonely, newly married people are happy and sweet, and those who have suffered from long-term marriages are uninterested  .
In "Rear Window", Hitchcock carried forward his condensed style and persistence in film narrative methods. Although there is no textual description in the first scene at the beginning, the audience understands through the film lens that the protagonist is a photojournalist. This kind of expression technique is the purest film narrative technique, but the condensed style does not mean simple and monotonous. Regarding the activities of the residents in the apartment building opposite the protagonist in "Rear Window", Hitchcock has repeatedly shown through the lens from the panorama to the details one by one, but most of the plots are in line with the main story of the film-the wounded photographer found and tracked down A wife murder case has nothing to do with it. This movie does not tell a thrilling crime story in a fast-paced manner, because in addition to the murder, the main theme of the movie is the "voyeurism" of the male protagonist in real life. Although there are only a few shots, Hitchcock is full of interest in telling no less than ten short stories, showing a condensed social picture  .
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Extended Reading
  • Cathy 2022-03-26 09:01:01

    The plot is general, and the expected reversal did not appear. 2013.10.16

  • Reagan 2022-03-24 09:01:02

    Wonderful love, suspense fascinating. It’s so refreshing to see Hitchcock while traveling~

Rear Window quotes

  • L.B. Jefferies: Who said they left then?

    Tom Doyle: Who left where?

    L.B. Jefferies: The Thorwalds at six o'clock in the morning yesterday.

    Tom Doyle: The building superintendant and two tennants in the building lobby. Flat out statements with no hesitation. The Thorwalds were on their way to the railroad station.

    L.B. Jefferies: Now Tom, how could anyone possible guess that? Did they have signs on their luggage saying 'Grand Central or Bust'?

    Tom Doyle: The superintenant met Thorwald when he came back. When he asked where he'd been, Mr. Thorwald told him that he took his wife to Grand Central Railroad Station and put her on a train for the country. See?

    L.B. Jefferies: I see. This superintenant must be a pretty bright guy. Have you checked his bank statements recently? See if he was paid off?

    Tom Doyle: [bewildered] Huh?

    L.B. Jefferies: Well, what good is his information? It's a second-hand version of an unsupported story by the murderer himself: Thorwald. Now, did anyone actually see the woman that Thorwald was with get on the train?

    Tom Doyle: Jeff, I hate to bring this up but this whole thing started because you said she was murdered. Now, did you or anyone else see Mrs. Thorwald being murdered?

  • L.B. Jefferies: All right, Doyle. I take it that you didn't find the trunk. And all of this is just some speech you made up at a policeman's ball!

    Tom Doyle: I found the trunk, a half an hour after I left here this morning. It was at Grand Central Station.

    Lisa Fremont: I suppose it's necessary for a man to tie up a trunk with heavy rope?

    Tom Doyle: If the lock is broken, yes.

    L.B. Jefferies: And what did you find inside the trunk? Surely no tomato paste to me?

    Tom Doyle: Mrs. Thorwald's clothes. Clean, well-packed, not stylish, but presentable.

    Lisa Fremont: Didn't you take them to the crime lab to have them examined?

    Tom Doyle: I re-packed them and sent them on their merry and legal way.

    L.B. Jefferies: Why would a woman who is going away for a short trip does she take everything that she owns?

    Tom Doyle: [glares at Lisa] Let's let the female psychologist answer that.

    Lisa Fremont: It's looks to me like she is never coming back.

    Tom Doyle: Now, that is known as a private family quarrel.

    L.B. Jefferies: All right, but if she was never coming back, why didn't he tell his landlord that? I'll tell you why Thorwald never told his landlord that his wife was never coming back. It's because he was hiding something in the apartment... or he still is.

    Tom Doyle: [stares at Lisa's overnight bag nearby] Do you tell your landlord everything?

    L.B. Jefferies: [embarassed] Uh... I told you to be careful, Tom.

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