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Rear Window (1954)
    
Review
One of
Hitchcock's all-time greats, Rear Window is a marvel of technical
simplicity and purism. Filmed in a lavishly built Paramount Studios
sound stage from a single perspective – the apartment of the temporarily
crippled photographer L.B. "Jeff" Jeffries (James Stewart) – the film is
an odyssey of voyeurism, fuelled by Hitchcock's inner transgressions. As
our bored protagonist starts suspecting foul play in one of the
apartments across the courtyard from his Greenwich Village residence,
his girlfriend (Grace Kelly) and home nurse (Thelma Ritter) go from
sceptical decency to gleeful suspicion over the course of the picture.
It's all a peculiar prophecy of the passive perversity of the online era
that humanity would enter half a century later. Perhaps the most
fundamental and chilling of Rear Window's many strokes of genius
is that deep down we're all either Jeff, Lisa or Stella. Other people's
misery is wickedly exhilarating to us, and it is exactly into this
delicate ethical yolk Hitchcock plunges us – with utmost precision and
technical brilliance.
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Re-reviewed:
Copyright © 20.02.2026 Fredrik Gunerius Fevang
Original review: Copyright © 23.01.2003
Fredrik Gunerius Fevang |
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