User Reviews

Fun and strong characters, incredible writing, maybe the best ever blocking, and some of the best suspense filmmaking put on film.

The film brilliantly forces us to see the world through the main character's perspective, making every emotion and moment feel immediate and personal. Beyond that, Rare Window impresses with sharp, witty, and life-accurate dialogues that feel completely natural. Its technical precisionfrom cinematography to set designis top-notch, and the humor blends seamlessly with real-life authenticity. A clever, immersive, and genuinely entertaining watch.

It's incredibly challenging to write a review of this film - so many ideas and layers of cinematic storytelling are embedded within it, and so many dissertations and essays have been written about it, that the very notion of capturing it all in a review feels excessively grandiose and overwhelming. Rear Window is such a comprehensive film in terms of cinematic language and richness of detail that any review will inevitably be incomplete and oversimplified. The film begins with the raising of the curtain - the opening of the window shades in Jeff's apartment, a perspective that becomes both Jeff's and the viewer's throughout the film. The soundscape consists of conversations, street noises, and occasional music played by a neighboring composer on his piano or a record player. The viewer is fully immersed, becoming Jeff, spying on the neighbors alongside him while also observing Jeff himself. Swelteringly bored, he watches his neighbors, each becoming a character in a silent film narrated by Jeff. The audience see them through Jeff's eyes and form impressions based on his commentary. Stella accuses Jeff of voyeurism for watching his neighbors. But isn't the viewer doing the same, observing both the neighbors and Jeff? Moreover, how reliable is Jeff as a narrator of what he sees? Is everything on screen a fiction conjured by Jeff's imagination, or perhaps a dream? Just as the film itself is a fiction crafted by Hitchcock's imagination. And how accessible is reality to our perception before it becomes part of our imagination? Jeff isn't eager to abandon his bachelor habits and marry Lisa, despite her captivating beauty and charm. Lisa is as alluring as Miss Torso, a dancer whose lingerie-clad exercises Jeff spies on. With Lisa, one could indulge in the passions of the newlyweds behind another, heavily curtained window. It's tempting to dedicate a song like "Lisa," composed by the neighbor across the way, to her. But there's another side to marriage - another movie, or rather, another neighbor's apartment, tells a different story. There, Lars Thorwald, a traveling salesman once as free as Jeff, endures his wife's torment, as she lounges in bed all day in a negligee suspiciously similar to the one Lisa will soon wear while parading before Jeff. Yet abandoning Lisa feels inhumane - on the ground floor lives the Miss Lonelyhearts, imagining companionship and, in one scene, wearing a green dress the same shade as Lisa's. Central to these competing narratives is the story of Lars Thorwald and his wife. Jeff suspects Thorwald, fed up with her endless taunts, has murdered her - much like Jeff might wish to be rid of Lisa, whose talent, he claims, is creating trouble. Jeff's detective friend dismisses his suspicions, insisting it's just his imagination. Masterfully manipulating angles, Hitchcock shifts the camera's perspective to the detective's point of view, making him the primary narrator and disorienting the **** film's intrigue seems to hinge on whether Lars Thorwald killed his wife. But perhaps it's really about whether Jeff will marry Lisa? Everything happening across the courtyard strikingly mirrors what's happening in Jeff's apartment - or rather, in his mind. What he observes through the rear window, or in his imagination, becomes more real than what's in his room. Who in their right mind would watch Miss Torso or Miss Lonelyhearts when the stunning Grace Kelly is in the room? Yet Lisa, even in a negligee, must close all the curtains to become Jeff's focus. She jokingly says she'd only distract him from Miss Torso by moving across the courtyard and performing an hourly striptease. Indeed, Lisa truly captures Jeff's attention and becomes part of his reality only when she becomes part of his fantasy - leaving the apartment and entering Thorwald's, transforming into the daring heroine of the thriller Jeff and the audience are watching. Only then does she earn the ring on her finger, won through bravery and adventure. How much of Jeff's narrative about what's on screen reflects reality? Are we watching a murder investigation or Jeff's nightmare about marrying Lisa? How real is reality to us until it becomes part of our imagination? Studies from the early 1950s in the U. S. showed most Americans dreamed in black and white, but by the 1960s, most dreamed in color. This shift coincided with cinema transitioning from predominantly black-and-white to color. If dreams reflect our unconscious, how much does cinema's influence on dreams distort our unconscious, and how much does the latter reflect our direct experience rather than what we've seen on screens? Would Jeff have seen the real Lisa if he hadn't viewed her through his camera lens as the heroine of his thriller fantasy? C. S. Lewis wrote that imaginary beings have their insides on the outside - they are visible souls - and that a man can only be truly seen by placing him in the imagination and viewing him as a fairy-tale character.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

PG+ Review Trigger Warning:This films contains mild suicide and small scenes of dead dogs but mostly relies on the mind. When I watched this movie hearing its a thriller but scared I might turn from a Stephen King fan to a Alfred Hitchcock fan this film is very good but not enough to turn me to Alfred Hitchcock fan yet but I would be willing to watch more of his movies. This movie feels like Misery 1990 was based off this movie. As they share similar ascpects. The only thing you should worry about is crulety to animals where a dog is killed and attempted suicide.

Great acting, and a great storyline. A Hitchcock classic that really is a must-see!

Such a great film for its time. Great acting, interesting to watch. A look into life before social media made it to where everyone’s lives were posted for all to see.

Hitchcock binds James Stewart to a wheelchair, deposits him at the picture window of a big city apartment and lets an idle imagination find its own drama. In this case, it's a murder most foul behind the drawn curtains of a neighboring unit. Costar Grace Kelly is refined and magnetic as the fashion conscious would-be fiancée; a model of smooth-talking elegance who, after initial doubts, is soon drawn into the intrigue of what's actually happened in that dark room across the way. After an argumentative start, Stewart and Kelly quickly settle in as a close-knit pair of obsessed observers, stoking each other's suspicions and inducing a steady shared vigil. The issue of their troubled romance is problematic, introduced in the first act and never truly resolved, but that doesn't bother me. I much prefer them as whispering cohorts with a gossipy secret, and the film already has more than enough subplots going on. Rear Window is a steaming pressure cooker of a suspense story, one which encourages viewers to second-guess their impressions and then punishes them for doing so. Like a large-scale stage production, the entire tale is told against a single backdrop: an unusually busy, uninhibited residential block. Sir Alfred's aptitude for frugal filmmaking is on full display here, utilizing every inch of screen to fill blanks and enrich the environment. It hustles, it bustles, it stirs in the morning and settles down after dark. We get to know each resident, to learn their habits and patterns, just like Stewart does from his lonely perch. Perhaps a little slow and meandering to start, once the pieces come together and our well-meaning voyeurs take matters into their own hands, it accelerates like a spooked getaway driver.

Incredible. I'm always amazed by how Alfred Hitchcock was able to create such compelling films. I'm beyond impressed by Rear Window.

This movie is one of the artistic , popular, effectiveness and best movie ever i saw in all of my life , one of the memorial movie .

Another interesting discovery from Hitchcock. 'Rear Window' benefits from a specific and innovative set, an intriguing plot and impressive special **** acting is great, especially from Grace Kelly and James Stewart, the latter almost only with his looks and **** colours are beautiful, the environment is great.Very similar to a theatre play, we follow the story of few characters. Some with importance as Lars Thorwald (played by Raymond Burr), some way less, as the sculptor on the ground floor. It is really pleasant to see all these protagonists evolve around each others for two **** the scenario remains interesting, I must say that the turns of events are not that much. There are some scenes deprived of ingenuity, overly long or simply contributing to make the plot falsely more complex.However I enjoy how the films goes from morality to psychology with the triad LB - Lisa - Stella, each giving his opinion about what is going on and how.

how is this an 100

that time classic thriller film. well executed and well written. for modern day some people will find it boring but it was actually great

Stunning, methodical, funny, erotic, self-aware, suspenseful, intelligent. A masterpiece.

Like 12 angry men , rear window is a renowned classic that manages to accomplish an excellent film whilst set in a room. Static settings demand for things such as cinematography, writing and performances to have to be at their best as they are the story, what keeps attention. Hitchcock is stunning at creating sublime story's that simmer and build into thrilling crescendos and rear window is his best example of that with his idiosyncratic camerawork swoops like the voyeur the main character is. Grace Kelly is an engrossing independent brave socialite reporter and Stewart a cynical photographer but Ritter stands out as the sharp wit nurse. The script is exceptionally well written . Not the best film I've seen but it's right there.

Kinda boring, but it was alright. Grace Kelly was so hot ;) For the 50s, it was a good movie, I guess.

Rear Window is a one of the more sophisticated Hitchcock films, and I will always consider it a masterpiece. It has tension, suspense, humour, has a strong voyeuristic tone to it and moves along at a good pace. The cinematography was truly excellent, dark in some scenes and beautiful in another. The script is fantastic and genuinely memorable(Thelma Ritter's wisecracks especially), likewise with the story, about a man who is convinced that his neighbour has killed his wife. I have always considered Rear Window's main merit to be the performance of James Stewart, he was perfect as Jeff, the man who is in a wheelchair, due to a broken leg. The other performances go without fault either, especially from the beautiful Grace Kelly as Lisa and Raymond Burr in a chilling performance as "the villain of the piece," Mr Thorwold. The music was expressive and atmospheric courtesy of Franz Waxman, and the climax was possibly the highlight of the film, after Stewart's performance. The 1954 version of Rear Window will always be a classic, not the inferior TV remake with Christopher Reeve. All in all, a must see for those who are fans of Hitchcock. 10/10 Bethany Cox.

The Best Movie of all Time. Hitchcock the best. James Stwart and everyone is great.

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This is a classic film of course, a Hitchcock classic. Its subtle and it relies on you, the viewer, to imagine what may, or may not, have happened. Its interesting how Jeff (the main character) interprets the observations he witnesses. Its all a case of context, I suppose. Hearing him query other peoples interpretations of what he saw made me doubt the truth behind the circumstances. Its definitely a strong case of armchair detective, of course (how could it not?). It features a strong performance from both James Stewart and Grace Kelly, who is quick to challenge his assumptions. It makes me wonder what do others read in to otherwise seemingly every day activities and observations?. Its a slow builder, plot wise but it does well at pulling the audience in, questioning things. Its an intriguing watch, I found surprisingly tense, so I'd recommend it.

After hearing so much about this movie, I finally watched it today. I enjoyed this movie. It was beautifully made. The direction, performances by the actors, story.... everything was good. There is thrill and suspense till the end and everything opens up properly at the end only. Movie tries to confuse you due to which you are unable to predict the ending. One thing that I didn't like about the story was that there needed to be proper explaination at the end. Overall, it is a good thriller drama which will keep you bounded till the end.

Best murder mystery ever. Modern. Simple. Different. Way ahead of its time.

Shockingly boring. This one really confuses me. I kept watching hoping for something in this film to really draw me in and stand out from other movies. Instead there was HUGE chunks of this movie that felt as if they were filler with only a couple of minutes of actual development in the story. Very disappointing given the other reviews. I must have missed something because I would not recomend this film.

Story: 8/10...love the premise and the small container of in which the story plays out. One backyard shared by a dozen or so tenants. One week of action. One grand narrative with a few interesting side-narratives to make it interesting. Only complaint is that it all wrapped up so quickly with a neat little bow on top. And Jeffries' paranoia and chauvinism is rewarded in the end. Blah. Dialogue: 9/10...funny, intriguing, with a deep sea of meaning hidden beneath the surface of the words. Performances: 8/10...basically a stageplay on screen, which delivered some pretty predictable stage-acting performances from several characters. Kelly and Stewart are phenomenal (Kelly especially), but the other characters all LOOK like they are acting. Misc.: 10/10...Hitchcock is just masterful with the camerawork, editing, score, lighting. All the subtle stuff you aren't supposed to notice isn't noticeable, which is what makes it noteworthy! Phenomenal directing. Overall: 9/10...a few parts age quite poorly, but it's clearly a masterpiece and the inspiration for so many single-set movies that followed in it's wake.

One of the masterpieces and the best movie of all time created by legendry Alfred Hitchcock.

Film goes in crescendo, thanks to some great dialogues, plot and camera movement. It's unbelievable that this was made 67 years ago.

Holds up incredibly well, largely thanks to Jimmy Stewart's effortless charisma & stellar believability. Hitchcock is a master at building tension & keeping the audience guessing. A+

Can't beat this classic. My first and one of my favourite Hitchcock films. I've watched it many times and will most likely do so again

[SPOILER ALERT: This review contains spoilers.]

Peeping is very common in Hitchcock's movies, he "usually uses the peeping lens angle to reflect the event, so as to enter the world with the voyeur's feeling." In the movie "Real Window", the director places voyeurism on the most critical part of the film's structure. From killing time to voyeuristic voyeurism, Lisa and nurses strongly opposed to involuntarily join in. The audience nervously followed the development of the plot, confirming the voyeurism deeply rooted in everyone's heart.

Bon alors, j'aimerais -une fois n'est pas coutume- commencer par une note positive : la gracieuse Grace Kelly et sa blondeur enivrante ainsi que ses yeux bleus comme l'océan et... Mais d'ailleurs il faut se méfier, car son prénom prononcé à l'anglaise, ça donne "graisse"... Et on ne veut pas de graisse, non, non, pas du tout ! Alors, il vaut mieux dire "Grâce" avec un gros accent circonflexe sur le "a" mais ne pas l'utiliser comme adjectif parce que sinon ça donne "grasse"... Et elle n'est pas grasse, bordel de merde ! Mais passons, car je me rends compte que je meuble comme un crevard et que je fais mon Hitchcock quelque part ; je me regarde donc le nombril, je me gave de Lexomil (c'est pour la rime) j'allume 3000 watts de projos et je commence à film... à faire de la merde. Je laisse le fâlot James Stewart en roue libre, avec lui quoi qu'il arrive, on commence déjà à s'endormir et j'étire mon espèce de pièce de théâtre qui dure pas loin de deux plombes au maximum : elle plombe tout avec un aplomb sidérant, hypnotique et surtout soporifique. Je veille bien à ce qu'il ne se passe strictement rien tandis que tout le monde mate ces automates à travers les fenêtres grandes ouvertes... sauf à la toute fin que je m'efforce de rendre encore plus ridicule que tout le reste, ce qui n'est pas une mince affaire... ...mais j'y arrive toujours parce que je m'appelle Hitchcock et qu'il paraît que les bobos m'ont surnommé le "maître du suspense" !! putain qu'est-ce qu'on rigole quand même...

I love everything about this film. It is, in my opinion Hitchcock's finest film. Also Jimmy Stewart is amazing.

Its the best crime thriller portraying a message of love at the heart of it strictly visually.

The best, GREATEST thrilling mystery movie ever made! With 2 of the best movie characters ever portrayed: James Stewart as L.B. Jeffries and Raymond Burr as Lars Thorwald!

Before the movie played in my photography class I was expecting a black and white film that still has charm (similar to It's A Wonderful Life minus Christmas). What I got was way greater than I'd ever imagined. The film has interesting characters, great suspense, and an interesting plotline all from one room. On top of that it still holds up really well for a film made 60+ years ago. The one point deduction is more of a personal profession, since there are other movies that I just enjoy watching more.

Rear Window is an absolute masterpiece. Alfred Hitchcock is well known for his ability to make entire films out of one room and no film exemplifies this better than Rear Window. Throughout the film there is a constant state of suspense that is aided by convincing performances from Jimmy Stewart, Grace Kelly, and Thelma Ritter. Although this film is often overshadowed by better known Hitchcock films such as Vertigo and Psycho, this film still remains a must see for anyone as an absolute classic that should be in consideration for the greatest film ever made.

¿What does a man when has to stay home due a sickness or handicap? Despite the slow passed, Hitchcock knew the best for catching the attention of viewer due the detective plot and the magnetism of James Stewart.

One of those instances where the movie is outdated for me. I'm not young by any stretch, but I find difficulty in engaging these older films. I also think, dare I say it, Hitchcock is not a director I'd put on my top 10 list. I won't say I don't like his movies, but I'm not an avid fan. I got one of the box sets and found myself bored through most of the movies, this one included. Sure, the color themes are intriguing, but I've seen so much better use of color. This is the issue I have with these groundbreaking films; the ground was broken so long ago, they have been oft imitated.

Charming even after six decades, Rear Window is a example how Hitchcok's movies ages well.

Rear window is pretty much perfection, Hitchcock’s opening sequence introduces you into this world of neighbors and all the happenings around James Stewart. Such an expertly crafted way to tell this story. Superb in every sense of the word. 100/100

Hitchcock built a whole universe out of an apartment complex... We then, as audience, are witnesses to a man who spends his time peeping his neighbor. And... Grace Kelly looks stunning...

My score 100 Metascore / User score 100 / 90 Tomatometer / Audience score 100 / 95 IMDB 85 (95)

I absolutely love this film. It's either the #1 or #2 Hitchcock movie on my list (competing with Vertigo). The story is so compelling, and the set is simply amazing. I always love watching the action on the New York City street that you can see through the little alley between the buildings. Such wonderful attention to detail. This film definitely deserves to be at the top of the Best Movies list.

Hitchcock is the master of creating one room set films, in which we the audience see through the mind and eyes of the main character. Jimmy Stewart excellently plays a photo journalist, bound to a wheelchair, suspecting his neighbour of murdering his wife.

Yang kasih rate 0-3 berarti sengaja menjatuhkan karya orang lain, lu pikir bikin film itu mudah ? lu pikir penilaian sebuah film bagus atau tidak cuma dinilai dari plot nya / ceritanya saja misalnya ? kalo mau kontribusi kasih rate yang objektif lah, pertimbangkan aspek2 lain dalam film tersebut (unsur2 intrinsik film). Saya pribadi sangat tidak suka dengan orang2 yang tidak menghargai karya orang lain, dengan melakukan penilaian hanya dari aspek2 tertentu, tidak menilainya secara keseluruhan (semua aspek yg ada dinilai) serta memberikan penilaian secara obyektif, bukannya berdasarkan emosi/perasaan sendiri semata, alias subyektif.

Jeff Jefferies is a photographer who likes to spy on the lives of his neighbors through the rear windows, until it begins to suspect that one of them killed his wife. Directed by Alfred Hitchcock, is written by John Michael Hayes, with the participation of James Stewart and Grace Kelly. This is one of the most famous films of Hitchcock and has been several remakes target. Like many of the films of this director, it could almost be staged as a play, given that almost all the action takes place in the same place: the apartment of the protagonist. The script is excellent, although moments of too much predictability. The performance of the main actors is impeccable and striking, and I consider this one of the best films of Kelly's career. The photograph also deserves a very positive note. The rest (soundtrack, costumes, scenery etc.) is reasonable without surprise or particular attention. I always heard people talk of this movie when it came in Hitchcock's name. But to see the film, I was of the opinion that this director did some more interesting and remarkable films. Either way, it's a good movie, it is worth to be seen and appreciated, and that will please a lot to most suspense fans or thrillers.

A very suspenseful, well thought out, together movie, which doesn't get too complex but still manages to provide an interesting story and unique directing techniques which will stand out as one of Hitchcock's masterworks.

Hitchcock challenges our moral scruples with this mysterious thriller. The very natural talent of Stewart plays L.B. Jefferies, an adventurous man confined to his New York appartment through injury. The incredibly talented Kelly, plays his frustrated but devoted girlfriend who Jefferies needs to convince that he has witnessed a serious crime from his window.

Even though this probably is not my favorite Hitchcock movie, it is still one of the greats. I only recently saw his best movies as before I somehow rarely watched that old movies, but even as this is more than 60 years old, it still is really good and the suspense is there and everything else you love Hitchcock for.