Alfred Hitchcock and the Male Gaze

Paper by Kelvin Matthews. Viewed on DVD.

Alfred Hitchcock’s Rear Window is without doubt one of my favorite films as it seems to employ all of the elements of Hitchcock’s style. Rear Window is a film based on voyeurism with a major part of the film reflecting on image and reaction, as the male gaze is mostly directed toward the female which is the case in most films. This film is filled with many POV shots from the main character Jeffries (James Stewart) as he uses his binoculars and telescopic lens throughout the film, and seems to almost use his window like a director would view a scene through a camera lens. This is also the source of the voyeurism in this film as well, as Hitchcock does not only have Jeffries as the source of the voyeurism but he also has the audience as a participant as well, as he uses this POV to bring us into the film and helps us to relate to the characters.

The voyeurism is especially noticeable as Jeffries curiosity turns into unintentional voyeurism as he views the people across the courtyard, especially the lady acting out her romantic fantasies and especially with the women hanging up her undergarments as she seems to be dancing and parading around in a bikini or her undergarments, as well as with the newlyweds. The women dancing are also the subject of objectification, as well as visual pleasure. Because of the man’s gaze at the female it has sometimes been said to reflect the male’s patriarchy and looking down on women.

By having the audience as part of the film because of the voyeurism, the director easily invites the audience to participate in a form of narcissism. I also thought it was unique how Hitchcock separated the sound and synchronized it, as well as the music being natural and using the music being played in the different apartments, therefore adding to the reality of the film. That music varied from jazz, pop and just the natural sounds around the block of the apartment, which also added to the real life charm of New York, although it was filmed on a set at Paramount Studios.

I also think the kiss that Lisa (Grace Kelly) gives Jeffries is another important aspect of the film, and a major scene that displays Lisa’s classic and sophisticated sexuality as the lights are off and she walks to him with eyes intense and seemingly the most beautiful hair. Her stare at him seemed to be that of seduction, and similar to the look the actress Rita Hayworth gave in the classic 1946 film “Gilda” which seemed to define the male gaze, except Lisa’s sexuality in “Rear Window” seemed more passive and graceful.

In this same scene Alfred Hitchcock’s use of the back light seems to bring on the shadows that seem to light the back of her head like a halo and seem to emphasize the moment, as Jeffries gaze at her before the kiss only enchants the kiss and Lisa’s sexuality. The use of shadows and her sexuality reminded me of some of the noir films such as “Gilda” that used a similar technique, although this was distinctly Hitchcock.
While there are a number of objectification characters in this film, I think Miss Torso who is the ballet dancer with all the male parties is a perfect example of her objectification and fetishization. I think one of the subjective shots that were most noticeable was in the final scene when Mr. Thorwald approaches Jeffries as he sits in the dark, and Jeffries begins flashing his camera. He blinds Thorwald as we see his POV in very sharp distinct colors.

The male gaze I think is very well represented here as well, as Jeffries keeps staring across the courtyard through his window which also reminded me of a camera lens. He looks at those in the courtyard in a voyeurism gaze although they cannot see him. It is also seen as well in the POV when Lisa is about to kiss Jeffries, as she stares at him with a soft sexy stare, and the use of the shadows are used as excellent special effects, as we see Jeffries POV as he looks up at her right before they kiss. You can also see the objectivism of Lisa as she walks away turning each light on as Jeffries stares at her.

Fetishization is something you see throughout this film, but especially when the women is seen dancing in what looks like her undergarments and as a series of characters in the film are seen parading in their windows as if they were on display or looking for love. The objectification of the women dancing and Lisa can be seen in a number of instances, but one that I very obvious is when Jeffries stares at her as Lisa lies on the bed. He seems to be controlling the action and the gaze as he stares at her. It is also very ironic as I saw Jeffries male gaze objectifying the women, and Lisa almost seems passive in her presence as she does not subject herself to the fetishization. She seems more like the good girlfriend image, and not a femme fatale. Lisa also reminds you of Rita Hayworth as Gilda in her hair and clothing is always perfect, which can be seen throughout the film, especially in her close up as kisses Jeffries.

Her dress and the tight fit of it also reminded me of Gilda (Rita Hayworth in the film of the same name and the sexuality she portrayed, although Lisa was less likely to seek the same kind of attention as Gilda. Her sexuality was more discreet and in classic style that somewhat reminded me of noir films, minus the femme fatale and minus the femme fatale personality. Lisa’s style on screen was classy and mysterious, which helped in the buildup and suspense of the story, as Hitchcock used the concept of “showing less was more,” as you never saw Lisa wearing anything less then those characters Jeffries viewed across the courtyard. Hitchcock was able to magnify and portray sexuality without be obscene, or vulgar, but left the audience at times open to interpretation or ambiguity. I thought it was especially interesting how Hitchcock cast Grace Kelly to play this role, as she seems quite the opposite of the other characters across the courtyard and her position the exact opposite of Thorwald’s wife as she is the caregiver, or rather helping Jeffries to recover from his broken leg, where Thorwald is the caregiver of his ailing wife.

While other characters seemed to portray and display themselves across the courtyard, she was the only person besides for Jeffries who was not on display, and did not show more then what was expected. She was able to be sexy, and desirable by acting like a women and being a good girlfriend to Jeffries. It was interesting how she seemed to separate herself from that form of voyeurism to some extent, and did not succumb to curiosity, until she became concerned for his neighbor.

While often a woman is considered strong by using her sexual abilities to affect the narrative, Lisa was strong by her mere presence and by the pure desire to help her boyfriend and not seek anything in return. Although her sexuality was strong it was not the focal point of the film as often was with films at that time. She seemed to break the mode of the leading women and bought class, grace and sexuality to this role and I feel helped to change how Hollywood saw leading women and helped to develop the role we see today.

In “Rear Window” we see women represented in a number of different ways, from a woman of respect and honor to a woman of strength and sexuality. We also see women who are weak and a woman who uses her beauty to obtain what she wants in life, to that whose life seems to be defined by the grace of her dance to a love and happy family that she dreams of having. Through all of these different characters Hitchcock makes it inevitable that the audience will be able to identify with one, if not all of the characters. This can especially be seen from the male gaze’s perspective, as Lisa and the other female character’s different forms of sexuality can easily be seen and felt by those watching this film.

The patterns of pleasure at looking at the women who continually show themselves through Jeffries POV add to the frustration and gaze of Jeffries, as well as the audience. This pattern helps to set put you in the mind of Jeffries and his daily life in his chair.
While this filmed was based on voyeurism I thought it was interesting how so many aspects of this film seemed to amplify and magnify the other. I thought it was especially ironic in the last scene to see Jeffries being confronted with his own gaze when Thornwald came towards him in the last scene, and Jeffries became the gaze himself.

His directing and editing techniques help to put you in the mindset of Jeffries as he watches the daily lives of his neighbors. I thought the reaction shots showed a perfect example of how a subjective shot could be used. This can especially be seen when Miss Lonely hearts is eating a meal by herself. As Jeffries looks at her through his window and binoculars we see what Jeffries sees as he stares at Ms. Lonely hearts sadly eating alone which is the subjective shot. Hitchcock them cuts to a medium shot in which we see his reaction of pity as he see’s Miss Lonely hearts eating alone which is an objective shot.

From the very first scene of the film “Psycho” in which Marion (Janet Leigh) is in, one cannot help but focus on her and her beauty as she lies almost undressed (especially by 1960’s standards) and laying in a bed with only her bra in a dark hotel room. The white color of her underwear creates a bright contrast which stands out on film, because of the darkness of the room and the black and white photography of the film.

Hitchcock made a point at introducing Marion Crane in this manner so that the audience would focus there attention on her and her sexuality as she tells Sam who is there with her and she is having an affair with that this is the last time she will be meeting him in secret. This is especially important because it gives the audience a chance to see Marion in a very private moment and the gaze is especially powerful here as the camera shows Marion from the man’s point of view as Marion is looking off. The power and desire seen in the gaze keeps your attention on the scene and on her character. It makes those watching understand and relate to those men who have been swept up in her beauty and the desire they have for her.

This scene and her words also help to establish Marion as an individual and help’s the audience to identify and know her, as well as see her life from her point of view. This is also powerful because like in the film “Rear Window” the audience is actually participating in an act of voyeurism and a feeling that they are watching in the privacy of there seat in the theater and she does not know they are watching. We can also identify with Marion and her reaction to certain men because most of the men in the film are seen, or depicted as crude and disgusting, so when Marion reacts the way she does most women and man can identify with her.

The shower scene is another scene in which the male gaze is obviously at work. As Marion steps into the shower, one can see why her beauty has attracted so many and why she has also been viewed so much for her sexuality in this film, but as she enters the shower and begins to wash her body, one can also see and feel her vulnerability and grace. Once she is stabbed one can’t help but also sympathize with her and wish she had another chance at life, when it is obvious that she has been killed.

The shower scene also gives us the opportunity to explore more of the male gaze as Hitchcock filmed this scene from a number of different angles with several different cameras which allowed us to see Marion from the killer’s point of view, or male gaze, as well as from Marion’s point of view as she was being killed and from the audience’s point of view as the audience was given one last time to gaze at her. When Marion had died the camera allowed us to see her once more, as her eyes stared directly into the camera in a very cold stillness as she died with her eyes open.

Although Marion undoubtedly does not like being watched, another powerful scene in which she undoubtedly knows what she does to men and how powerful that desire for her is can be seen when she is driving. As she is driving and day dreaming, or thinking about what they may be saying in her office once they discover she has stolen the money, is one of the best and most powerful representation of how powerful and desirable the male gaze is.

As she is driving she has these thoughts that are captured by Hitchcock as a voiceover of her thinking. She looks directly into the camera as she is driving and going against the traffic, and thinks about what her boss and co workers may be saying about her. When she imagines and thinks about her boss and co workers talking her face makes an obvious frown, but when she thinks about another co worker Tom talking she imagines him saying, “I’ll get the money back and if any of it’s missing I’ll replace it with her fine soft flesh.” When she thinks about him saying those words Marion’s face and expression changes from that previous frown to a slight smile of satisfaction, suggesting the she may know the power of her beauty and sexuality.

Marion’s character follows a recurring theme of a number of Hitchcock films with her blond hair. She is strong and smart. She is beautiful and seems reluctantly sexual, but see’s it as a gift and sometimes a curse when she attracts the wrong kind of attention. Norman’s mother follows a theme seen in a number of Hitchcock films as well, such as “The Birds” as she is portrayed as insecure, over bearing and protective, as well as a little “off the charts” mentally.

In Hitchcock’s film “The Birds,” Melanie (Tippi Hedren) seems quite the opposite from Marion in some ways as she seems to desire the attention of the male lead Mitch (Rod Taylor) at the beginning of the film. She seems to want Mitch to watch her and goes out of her way to be sure that he does. Her sexuality is graceful and much likes Grace Kelly’s character Lisa in “Rear Window.” In the first scene of “The Birds” Melanie is walking across the street when she hears a man whistle, unlike Marion in “Psycho” who would have been repulsed to say the least, Melanie seems in a way pleased and makes a slight smile.

In another scene as she is holding the lovebirds in the elevator she seems in some ways to be posing for the gentleman in the elevator with her. As she leaves the elevator her eyes seem to go to the side in a very discreet manner to see if the man is watching as she leaves the elevator. Much like Marion she seems to know the power and desire of her sexuality as we view her through the camera lens in much the same way as one might view someone who is on display and want to be seen. The audience in many ways see’s Melanie through the eyes of Mitch, or Mitch’s point of view as he seems to view her for her sexuality and aggressiveness. This especially can be seen when Melanie’s has come on to Mitch in some highly suggestive manners and he tells her, “back in your gilded cage Melanie Daniels.” He seems to suggest that she if even to much for him to handle sexually and mentally, and the bird cages only remind you that maybe Melanie see’s herself in one of those love birds and seeks her on love, and freedom from her own cage in life.

I also thought that Hitchcock’s use of the love birds as the MacGuffin was an excellent choice in helping to drive this film and also in helping to drive the male gaze and the sexuality in this film. While he could have used any birds and called them by any name, the use of love birds and the sensuous of how Melanie kept saying those words were also part of her sexuality and a part of what made her desirable in the eyes of the male gaze and to Mitch.

Even when she arrived on the island by boat to bring the birds to Mitch and told Mitch’s ex girlfriend, Annie (Suzanne Pleshette) who she met by accident what she was delivering, her body movements and the sensuous nature of her voice and the manner in which she said she was delivering love birds suggested to Annie that she wanted much more and the love birds were just a metaphor, or a symbol for what she herself was looking for from Mitch. Melanie is seen as a woman of strength and grace who is not afraid to go after what she wants and does not care who knows it. She is also aggressive and daring, as well as independent which makes all of these things especially admirable to a man, but may also frighten some men who may be less secure then Mitch is with his self.

Mitch’s mother carries much the same themes of many of Hitchcock films such as the film “Psycho.” His mother seems over bearing at times and protective. She seems weak and in a way insecure, and afraid of being alone. She seems to have also been through a lot and seems to still grieve over the death of Mitch’s father. Annie seems strong but doubtful. She is smart and sexually attractive but does not wish to put it on display like Melanie was in trying to capture Mitch. Annie seems to hold out for love, but in a way seems to have given up on love as well. She is smart and sensible, and it is easy to see she is a fighter. She also seems to have the qualities inside of her to be a care giver and willing to sacrifice for another’s happiness and their life. In both “Psycho” and “The Birds” Hitchcock makes the audience focus on Marion in “Psycho” and Melanie in “The Birds,” even when the two women are attacked in their respective films, Marion by what is suppose to be Norman’s mother and Melanie by the birds, we see the male gaze as the camera shows Melanie from a birds eye view from the actual birds attacking her over head. Even as she is being attacked the male gaze see’s he call for help and a desire to help her. The male gaze also see’s why she is so desirable and see’s her for her beauty and sexuality as well.

The same can be said in the Hitchcock classic “Dial M for Murder” starting Grace Kelly. This film was masterful made with the male gaze playing a role in this film as well. As we see Margot Wendice (Grace Kelly) walk across the room and into that of the male gaze’s heart in her white see through night gown as she answers the phone, the audience is immediately focused on her and the white night gown as it glows and contrast much the same way Marion’s bra did in her first scene in “Psycho.” This scene immediately makes the audience aware of Margot’s sexuality and grace as the male gaze see’s the beauty in her walk and the night gown she wears. As she is soon attacked on the phone and she struggles in her night gown, Hitchcock tried to bring out the male gaze either further by making the male gaze and a sense of voyeurism a part of this scene. As the audience watches what happens the audience is not only seeing a good action sequence, but the male gaze towards Margot is extremely active and feels as if he is seeing Margot in one her most private moments, like someone watching from a window. The medium camera angle used as she walks across the screen and Hitchcock’s use of very low key lighting in a dark area of the room helped the white gown to contrast beautifully and brightly in the dark and made the male gaze see her as a women of grace, beauty and sexuality. It helped the audience to identify with her as a woman of class and grace, but a woman who is viewed as a woman of desire. The shot of her on the phone as the man comes up from behind to strangle her makes her sexuality all the more prevalent and desirable as a close up shows her gown and cleavage as she soon struggles to survive. It was not mistake that Hitchcock had Grace Kelly in a gown and emphasizing every detail of that gown, but it was done because Hitchcock knew the power and desire of the male gaze and how that attention would focus on Margot. By giving the audience the primary point of view look in this scene Hitchcock made the audience a part of the scene as the audience saw why the male gaze was so powerful in this narrative, as Margot’s sexuality was powerful enough to make one man have an affair with her although she was married and her husband to kill out of revenge and wanting to keep Margot to himself. Margot’s place in this film places her as a victim, but also as a woman who is in control of both men’s lives and their fate through her sexuality and the male gaze they both have in desiring her.

All of these traits and characteristics made it easy for the audience to identify with all of these female leads on some level, or degree. While the women characters were different in all of these films, in so many ways they were alike, as all of them had one thing in common and that was the fact that all of them were the object of the male gaze.