Rear Window (Alfred Hitchcock, 1954): USA

Reviewed by Tyler Gilbert. Viewed at the Mann Chinese Theatre, AFI Film Festival, Hollywood.

Alfred Hitchcock’s classic Rear Window returned to the silver screen in original 35mm on the afternoon of November 8 in the Mann Chinese theatre. Starring Grace Kelly and James Stewart, the film has been a favorite for many over the generations since its release in 1954. The film is isolated almost entirely to the apartment of adventure photographer L.B. Jeffries (James Stewart), who, because he is stuck in a wheelchair while his broken leg mends, discovers the voyeuristic pleasures of watching his neighbors through the rear window of his apartment. The plot begins when a scream tears through the night, prompting Jeffries to believe that a murder was committed in the Thorwalds’ apartment across the way. His love interest, Lisa Carol Fremont (Grace Kelly) and his nurse Stella (Thelma Ritter) try and help Jeffries build enough evidence to convince Detective Doyle (Wendell Corey) to instigate an investigation into Lars Thorwald (Raymond Burr), who is suspected to have murdered his wife. Jeffries, Lisa, and Stella’s spying leads them to conclude all kinds of interesting things about the neighbors and even helps them prevent another death in one of the apartments.

Rear Window is one of Hitchcock’s essential “gaze” films—to take from Laura Mulvey’s argument. The film is told mainly in the perspective of Jeffries, who spends quite a bit of time staring at the women across the way, who he and Stella dub “Miss Torso” (Georgine Darcy). Completely powerless under his discrete gaze, Miss Torso has no idea she is being scrutinized across the courtyard through Jeffries’ telephoto lens and binoculars. But not only Jeffries is interested in her sexually; the film reveals Miss Torso’s promiscuity, hopping from man to man, the object of many different lustful gazes. Hitchcock focuses on Jeffries’ bizarre pastime activities and in a sense, justifies the action of watching others; Jeffries’ is doing good, trying to catch a murderer. Through the film, Hitchcock comments on how watching others is something every human being does, even though, as Stella points out, it is perfectly illegal. There is just something in living through other people and seeing what they are doing that interests the human being. Hitchcock may never come to a conclusion about what that is, but he plays on it, reminding the audience that we may always be watched, even when we do not know it. However, the film does not portray the gaze in a negative light; once again, it is justified, and because of this, it makes the audience feel in the right for watching Jeffries’ neighbors with him. It is a precarious situation, though. We feel just as sneaky as Jeffries: little kids with our hands in the cookie jar. Underlying the voyeurism is a subconscious thrill of being discovered that makes the film enjoyable to watch. Jeffries’ neighbors are just like any other neighbors, and everyone is curious. Hitchcock pushes the envelope and says, “it’s okay—go for it; there’s only a small chance you’ll be caught.” So we indulge ourselves and try to uncover Thorwald’s crime alongside the wheelchair-bound photographer and his friends.

The film is a thriller, but it is not particularly horrifying. The thrill comes from the scopophilia; being able to watch others without their knowledge. Like Jeffries, the audience finds themselves in a position of power, perched in the lofty rear window of his New York apartment. It is an unusual murder mystery, packed with sharp, witty lines and where the audience gets to be the detectives. This classic film is a masterpiece that will leave viewers thinking for hours.