I have never
Rear Window. As a film that is considered
by many to Alfred Hitchcock’s greatest suspense thriller, adding it to the list
as my “I have never…” monthly classic movie seemed an obvious choice for the
month of October. After all, the month is known for its association with
Halloween and all things spooky, which made the work of the father of modern
thrillers and horror movies a natural fit for my new film experience. As a
result, I started narrowing down the potential days I could set aside time to
watch the film in October. After contemplating watching the movie somewhere
toward the middle of the month, I realized doing so would take something away
from a truly authentic experience, which made me hone in on Halloween night as
the perfect time to watch Rear Window
for the first time.
After
obtaining a copy of the film from a local library, Rachael and I settled in to
watch Rear Window with the noise of
the dreary, wind-ridden weather whipping at the outside of the house. Having
little exposure to the work of Alfred Hitchcock previously, I didn’t know
exactly what to expect from Rear Window,
but I figured the film had to have some degree of appeal to endure as one of
the greatest films ever created some 60 years after it was first released. To
my benefit, the plot of the film developed quickly enough to set the groundwork
for what was yet to come. Without giving too much detail regarding the
forthcoming events, Hitchcock carefully planted seeds of perspective from the
eyes of the film’s protagonist, a temporarily wheelchair bound professional
photographer, L.B. Jefferies.
A watchful eye... |
As a man
used to capturing moments from his observations of the world around him, a
broken leg had left Jefferies’ world confined to the view of the windows lining
the buildings around the courtyard visible from his apartment’s rear window. In
turn, Jefferies spent his days observing the habits and behaviors of the people
living around him, often pressing his limits as to what was acceptable behavior
with his observations. Unaware of where the story was going, I felt suspense
building as we watched these first moments of Jefferies’ behavior related to
the buildings around him. His obsession growing, he spent late nights taking in
the final moments of his neighbors’ days, watching them fall asleep, share
quiet moments, and argue over trivial matters.
Suspicion |
At first, I
thought Jefferies’ watchful eye would result in him becoming obsessed to the
point of derangement, and the similar concerns expressed by his caretaker,
Stella, and significant other, Lisa, seemed to reflect that possibility. As a
result, I was surprised when the story made a turn toward identifying the
obscure behavior of one of Jefferies’ neighbors, a door to door salesman
somewhat new to the neighborhood. During a late night observation Jefferies
noticed a neighbor across the courtyard engaging in the strange behavior of
leaving and entering his building with a suitcase several times. When Jefferies
woke the following day to find the neighbor’s normally bed-bound wife was no longer
in the apartment, Jefferies’ imagination began to run wild with the possibility
of murder. In turn, his obsessive behavior turned almost exclusively to
tracking the salesman’s actions, which set the tone for the remainder of the
film.
Busting the theory |
After
observing the salesman begin packing his belongings to move out of the
apartment, wrapping some hand tools in newspaper, and rifle through a bag of
jewelry belonging to the man’s wife, Jefferies’ speculation took control,
leading him to contact a friend and private investigator, Tom, to help him prove his theory of murder.
Upon being rebuffed by the investigator’s findings, Jefferies moved to recruit
the help of Lisa and Stella to help him gather evidence, which forced the story
forward into a series of missteps that would endanger those close to Jefferies
and result in him facing the accused in the dimly lit space of Jefferies’ own
apartment.
Gathering evidence |
As the plot
of the film accelerated into taking action sourced in Jefferies’ personal
obsession, I found myself wrapped up in the unfolding story. The suspense over
the inevitable outcome made the remaining portion of the movie fly by as
Jefferies and the two women plotted ways to gather information related to the
salesman’s actions. Eventually, this resulted in Jefferies distracting the
salesman with a phone call to permit Lisa and Stella taking to the courtyard to
dig up a portion of a garden that had been a point of interest for a neighbor’s
dog some days earlier. I watched on as Lisa and Stella found nothing of
interest in the soil, which caused Lisa to spontaneously take to the fire
escape to break into the salesman’s temporary vacant apartment. I found myself
wrought with anxiety as Jefferies watched the salesman returning from afar,
unable to do anything to help Lisa when the salesman discovered her rooting
through his apartment.
Confronted |
During the
resulting scuffle Jefferies called the police to report the assault, which set
him up to face the salesman face to face. As the police questioned Lisa, her
signals to Jefferies across the courtyard caused the salesman to put together
the pieces of the recent phone call, the break in, and the source of the
disturbances. As the police took Lisa into custody, Stella followed close
behind to post her bail, which left all eyes off of salesman. In turn, the
salesman turned his focus to Jefferies, making the short trip to his apartment
to confront the man that had been watching his every move. Helpless, Jefferies
waited and watched as the Salesman slowly entered the apartment and walked
toward Jefferies through the darkness. I found myself slowly squeezing the
nearby blanket between my hands as the two mean drew closer and erupted into
conflict. Unable to escape his wheelchair, Jefferies fought for his life as the
salesman lunge toward him and started forcing him out the stories-high rear
window that had been the single factor leading to that moment.
Caught Red Handed |
Now, of course I won’t go into the exact details of how Rear Window draws to a conclusion. It wouldn’t be such of a suspense film if I did. That stated, I will say that my first experience watching Rear Window was well worth sacrificing two hours of my time. Without changing the setting once, Alfred Hitchcock was able to make a movie that was gripping to the bitter end. In fact, I was caught by surprise when I realized two hours had gone by following the end of the film. As a movie made in 1954, Rear Window still stands up against many modern suspense and thriller films I have seen in my life. Sure, some aspects of the scenes and the special effects obviously date the movie, but the plot and the cinematography rival some of the best of our time. In an era of fast paced, vast storytelling I find it hard to believe there are very many modern directors that could make an engaging, two-hour long film with a static background. It rarely, if ever, exists in modern film, and that’s just one feature of Rear Window that makes it stand out as a heart pumping, anxiety-fueling story of suspense. On a night like Halloween, I don’t think I could have picked a better way to spend my time.
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