Professional photographer L.B. "Jeff" Jeffries is confined to a wheelchair in his Greenwich Village apartment after an on-the-job accident, attended by Stella, an insurance nurse, and his fashion-industry girlfriend Lisa Fremont. Passing the time by looking out of his window into all the other apartments surrounding his rear courtyard, Jeff comes to believe that one of his neighbors has killed his wife, chopped up her body and disposed of it. At first, Lisa and Stella are skeptical, but eventually they get swept up in the mystery. Although Jeff has always felt his relationship with Lisa was doomed by her urban refinement and unrealistic expectations, when she puts herself in jeopardy to help him solve the crime, he begins to see her in a new light.
Director: Alfred Hitchcock
by Louise Keller
"What a treat it is to see this wonderful classic from Hitchcock restored so we can enjoy it on the big screen. The painstaking restoration is the work of Robert A. Harris and James C. Katz, the same acclaimed team that restored Vertigo so magnificently four years ago, and much of it has been done on a frame by frame basis. Although the picture and sound quality may not be as good as that of Vertigo, it is nonetheless incredible that some scenes have been digitally recreated, including one where Grace Kelly walks across the room.
Taking the premise that everyone is interested in everyone, add a little murder mystery and hey presto, we have one of the great suspense thrillers of all time, whose delights and relevance lives with us today. James Stewart, debonair as ever and teamed with the astonishingly beautiful Grace Kelly, is everyman, whose curiosity takes us into the lives of each of his neighbours. It's through the windows that we glimpse from afar real people living out their lives. And although we know we should never assume anything about anyone, we are fascinated by the insight that we get. We get to know Miss Torso the sexy ballet dancer who spends her time fighting off wolves, the songwriter who drinks a little too much, Miss Lonely Hearts, whose plight reduces us to tears and Thorwald, whose secretive manner becomes an obsession.
The script is deceptively simple and full of wonderful lines ('wives don't nag, they discuss'), but there's nothing simple about the skill with which Hitchcock achieves the tension and total commitment that we gladly give. Rear Window is a joy from start to finish, proving once again that the greatest suspense comes from the depths of our own imagination. Whether you want to be seduced by the most elegant, sophisticated blonde that the screen has ever seen, or feel your heart beat at double rate as we watch Stewart captive in his plaster cast with only a flashlight as a weapon, succumb to the delights of Rear Window. It's a treat."