Because of this there is at least one thing or individual that everybody can place with.
For starter's let's look at the simple premise - James Stewart is L. Jeffries, a photographer who is currently recovering from an injury on assignment. With his broken leg he's stuck in his apartment, with nothing better to do than spy on his neighbours and be visited by his girlfriend, Lisa Carol Fremont Grace Kellyhis officer friend Wendell, and his nurse, Stella.
Jeffries observes the coming and goings of the various apartments he can observe from his rear apartment window and it is one of these - a Raymond Burr - who draws his attention because.
One of the beautiful things about the movie is its superb use of location. The whole movie, bar a couple of brief scenes, is set in the apartment. This would seem claustrophobic but Hitchcock never inhibits us like this - he lets us escape through Jeffries binoculars and camera lenses, and his roving camera swoops down to let us see what the characters see but never, thankfully, anything more than Realism rear window - this is how you do suspense!
The set design is wonderful - the apartment is just the right size and is nicely laid out.
However the real praise is for all the other apartments visible to Jeffries - an actual habitable set with multiple stories where characters can be observed only as they pass by their own windows yeah, they don't care much for curtains.
There's a sense of individuality gone in to each home, despite the fact we can only see barely elements of each. This is helped by a nice, differing range of characters inhabiting each and going about their daily lives - there's a mini soap-opera contained in the movie, all observed at a distance.
There's some nice depth to the characters here, with them feeling like actual real people rather than slick one-dimensional tags. Even supporting characters like Stella are good she has a wickedly black sense of thinking that's hilarious. What's so incredible is that the characters we observe from a distance in the other apartments and with whom we never actually interact with have as much depth as most main characters in movies nowadays.
Excellent script and acting in this movie. I've already praised Hitchcock's set location and camera work, so I won't prattle on about him much more.
He does a stellar job here and, in my opinion, this is the best piece of work he's done that I've seen. It's virtually flawless and you're never let down or bored. Regarded as a classic, and deservedly so. Was this review helpful?
Sign in to vote. But I realized something that I hadn't thought of as I watched it for the first time- this is a return for Hitchcock to his skills as a master of silent-film chills.
Jeffries Jimmy Stewart in one of his most infamous performances is in his wheelchair viewing out one perspective to other inhabitants in the apartment, the audience views right along-side him.
So, for more or less 50 percent of the film, the only sounds we hear are the sounds of mere realism, as Hitch's camera keeps a close eye on things. As the thrills build in the second hour of the film there is considerably more dialog than the first hour.
Personally, the experience of seeing these events unfold and increase was near electrifying. Along with Stewart's performance, which ranges from amusing to terrified, compelling to frightened i.
Not only is there a magnetic kind of skill to which Hitchcock and cinematographer Robert Burks presents us with the apartments' supporting and minor characters and how their fates are played out against the enclosed backdrop, but the psychology of Jeff becomes parallel, or against, to the audience's.
This is the story of one man's temptation and compulsion to be involved with those he can see much like movie-goers have with any given filmand how perception of the realities around him become ours.
Rear Window may have become dated for some movie-goers, particularly since the theme has been played on by other movies and TV shows like The Simpsons for example. Yet there is a certain effectiveness to it all, even in the earlier scenes, that holds an edge over imitators.Realism in “Rear Window” Essay Sample.
One of the most crucial elements of Rear Window, and a very clever tactic used by Hitchcock, is realism. Rear Window is a movie with a overplus of characters with which the audience can place with.
linking with either their personalities or their experiences ; we ‘play the part’ of all of the chief characters. and practically every one of the neighbors in the composite. through the . Dave Lebow's Artwork.
K likes. Dave Lebow is old school. “The Greeting” oil on canvas available at Lovetts Gallery Tulsa Oklahoma. in the Rear Window Show beginning Saturday.
10/20 # lovettsgallery # realism # RearWindow # sarastreeter. Dave Lebow is with Lovetts Fine Art Gallery. Join Paul J. Smith for an in-depth discussion in this video Adding realism to the window, part of SketchUp for Architecture: Details.
Rear Window is a film with a plethora of characters with which the audience can identify with, connecting with either their personalities or their experiences; we 'play the part' of all of the main characters, and practically every one of the neighbours in the complex, through .
How Rear Window Made Us All Voyeurs And Detectives. Michael Sragow. 3/07/17 pm.
Realism in “Rear Window” Essay Sample. One of the most crucial elements of Rear Window, and a very clever tactic used by Hitchcock, is realism. Jun 04, · Realism and honesty are not virtues of cinema because art, in and of itself, is a lie. Pablo Picasso once said, “Art is the lie that tells the truth”. With Rear Window, Hitchcock disproves the Michael Powell and Emeric Pressburger quote that audiences don’t want escapism in films through the actions of Jeff. Advertisements. Realism in "Rear Window" One of the most crucial elements of Rear Window, and a very clever tactic used by Hitchcock, is realism. In other words.
Filed to: rear it shocks us into realizing that mass communications media—and photojournalists like Jeff—have created a surface realism that reduces people to manipulable images and blinds us to their capacity for an independent, even hostile, .