Hitchcock in retrospect looks very strange in places: such multifaceted authors are still worth looking for. If “Rope” is a witty satirical thriller shot with long plans, where bets are made on theatricality and acting, “Saboteur” is an openly propaganda film that “sinks” against the Hitler regime, and “Psycho” is a psychological thriller-horror about maternal hyper-guardianship and consequences, “Rear Window” gives food for the mind in the relationship of voyeurism and personal space in “human.” American society that 70 years ago, that now prefer not to interfere in other people's affairs and to respect personal boundaries, but this picture raises the question edged and asks: "What if not to be indifferent?"
Balancing on the verge of melodrama, thriller and detective, “The Window to the Backyard” pleases with its filigree cast in the faces of James Stewart and Grace Kelly, a well-written script and a twisted plot, the “chamber” of what is happening, which makes it possible not to be sprayed on side and unnecessary events, a pleasant jazz soundtrack, as well as an open and ambiguous ending that is appropriate as ever. This is a movie that passes the test of time in full.
I can’t say that this is not a movie. Very well. Just get used to Alfred’s handwriting, where once again there will be little exposure, or it will be spoken casually by secondary characters. Without knowledge of context and time, this is a very different picture. Moderately fascinating. Moderately stuffy. In some places, you may lose yourself as a spectator, but this is purely individual. Either you accept the rules of the game or you don’t. Not Hitchcock's best work, but one of them. I wonder if there will be something more innovative and amazing than Rope. The author's marathon will show, but for now my modest assessment:
7 out of 10
Sometimes we get bored. Willy-nilly, if you are completely stuck in a home chair, you want to go to the store, even when the refrigerator is full. I want to go to the park and let it rain. But L. B. Jeffries (played by James Stewart, an old friend of Hitchcock and a true legend of Hollywood), a world-class photographer, from a wheelchair - from a wheelchair - can not get anywhere. Broken his leg. And nothing entertains him: memories of his own coolness tired, visiting him every evening beauty Lisa too (the delightful Grace Kelly does not brighten up the everyday life of our photographer, but damn decorates the film).
L. B. refers to the ancient entertainment method. This is not drunkenness, as one might think, but only harmless peeping. Armed with binoculars, happy to scroll through the windows of neighbors from the house opposite. Such a passion always remains harmless until you see what you are not supposed to do. So with our L.B.
The sense, intuition, acquired by him in various troubles, reflected in the film, suggests: something is wrong. Lisa, who came to the rescue, initially tries to dissuade L.B., but then she herself is drawn into this indecency with an invasion of personal space. The same goes for Stella, a medical worker who comes to L.B.
For the photographer, the picture becomes clearer and clearer. Looking through other people's windows, with good luck, can be with impunity for a long time. And you can even see a fat watchmaker, suspiciously similar to Hitchcock. One thing to keep in mind is that someday you will be looked back at. Your life will be reflected in your eyes.
At the heart of this chamber film is the story of the same name by William Irish. According to his works in the noir genre, a record number of films were shot. The literary source allowed not only to make a movie, but also to stage a performance with a minimum change of scenery. The thing is that technically, the plot events take place within four walls: the viewer sees the photographer’s apartment and the view from the window. Using binoculars and many other tools from the arsenal of a professional photographer, Hitchcock chooses a point of concentration for the hero and for the viewer. It allows the viewer to peek, creating the intimacy of the moment. The scenes in the photographer’s apartment also look with a taste of voyeurism – the viewer seems to watch the conversation between L. B. and Lisa secretly, fearing exposure.
The limited space is the main advantage of the “windows in the courtyard”. In front of the viewer is not only a window to the courtyard, but also a window to the hero’s apartment, and we, as spectators, are stuck in this wall between these worlds. The visible and invisible world. L.B. Jeffries also feels like a spectator in front of the canvas of the cinema, watching the plots unfolding in the next house. All is well until the wall between the movie and the hero is broken. The film is immediately transferred into his life. Before this fracture, Hitchcock’s picture can be called a thriller, a detective, a crime film, for the worse. After - horror, moreover, very high-quality. Immersion in the consequences of the destruction of this notorious barrier between the actor and the audience, a retaliatory invasion of private space.
L.B. Jeffiers’s room and his yard, visible through the window, are the places you want to return to. A classic worth everyone’s attention.
For me, this film is a disappointment. First, too much expectation, rave reviews, the master thriller Hitchcock, Grace Kelly - can it not give a result? Secondly, he read the literary basis (detective story) as a child, and he was very memorable. So really dark, intriguing, creepy. Not every detective leaves a trace in his memory. In general, in combination with Hitchcock, he expected a chilling thriller, and eventually received some light melodrama, almost a comedy. Nothing exciting, the hero just watches the neighbors from the window, but nicely communicates with his girlfriend (Kelly), the detective component is taken into the second part and almost into the background. Yesterday I decided to re-read the story of Irish, I thought that perhaps in my youth I overestimated its effect, and MB did not notice humor and romance. No, it's a Hitchcock story. But the movie is different.
1954 was a particularly productive year for suspense master Alfred Hitchcock. This year, four of his paintings were released at once: ' In the case of a murder, type "M"', ' Window to the Courtyard', ' Catch a Thief' and ' Trouble with Harry' And today I want to talk about Hitchcock's most highly regarded feature film on IMDB - ' Window to the Yard'.
Photo reporter-adventure seeker due to a serious broken leg is forced to sit at home for 7 weeks. And since there was no Internet then, he is forced to entertain himself by watching the lives of neighbors through a window overlooking the courtyard. And over time, the main character begins to suspect a neighbor of the murder of his wife.
The value of 'yard windows' for the detective genre is difficult to overestimate. The plot, where the hero seemed to witness a crime, but all the evidence said that he was wrong, can be found dozens of times. Take at least a direct citation in ' Paranoia', ' Castle' and ' The Simpsons' (where else!).
The main roles in ' Window in the courtyard' performed by the stars of the first magnitude of those years: already the Oscar-winning James Stewart and the magnificent Grace Kelly. Due to the twenty-year age difference, their duo does not look very organic, but this is compensated by the charm of Stewart and the beauty of Kelly.
In ' Window to the yard', in addition to the central plot, it is interesting to observe the fates of other neighbors (ballerina, single woman, newlyweds, composer, dog family), sometimes you worry even more about them than the main characters.
One of the main works of Alfred Hitchcock for more than sixty years, so ' Window to the courtyard' sometimes looks outdated, but interesting plot, charming characters and Hitchcock's signature humor make this film one of the best chamber detectives.
(roughly 8 minutes of the film)
Window to the yard
The main character is a photographer (allegedly very cool), chained to a wheelchair, as he broke his leg. There's nothing to do, mortal boredom. Armed with binoculars, Jeff (the inimitable James Stewart) begins to peek at the tenants from the house opposite, the good of all the windows are open.
Before us is a great classic from the brilliant Hitchcock. I’d like to make a little remark – I love The Backyard Window, it’s cool, but not Hitch’s favorite. “Vertigo”, “Psycho” and “Birds” – sympathize a little more. May the fans of this picture forgive me, judging by internal emotions.
“Window to the courtyard” is one hundred percent masterpiece. The IMDB rating is 8 (impressive). This is not a thriller, as some moviegoers write. Not even a detective. Hitch (once again) stirred up his own, I emphasize, uniquely author's film. Out of bounds, out of standards.
In addition to the central storyline (Jeff suspects one of the neighbors of the murder), there are several mini-scenes in the film. I'd like to celebrate a sketch with a single woman. A little sad, but a good story. And “The Window in the Backyard” can smile (yes, I mean that blonde lecher, a-hee-hee).
Hitchcock is a virtuoso. Confident direction. Intrigue is in place. Check out the house itself (thanks to the decorators, tried), check out the visual range. Well, and sweet - beautiful Grace Kelly (how she is still chic, heart freezes, adores Kelly). “Rear Window” is Hitch and Grace’s second film together.
Choosing a short story by Woolrich, Hitchcock directed one of the most influential films in the history of cinema (the director’s influence is limitless). Many famous directors (from Coppola to the Coen brothers) confessed their love to him. I would definitely recommend it.
Cinema is a big window where we always look. To be honest, it is a shame not to know such films!
P.S.
Alfred himself appears in the 26th minute (near the pianist), don't miss it.
8 out of 10
. Well, that's better than the 1938 and 1943 movies. Naive, but more dramatic. I wonder, then this stamp, when the police don't believe the witness, was already common in the movies? Nothing special today, but I watched it for the first time in the 70s. I was impressed then. Not today, although I don’t remember anything from the story.
Perhaps this is one of the most famous films of the master of suspense. In 1954, the painting by Alfred Hitchcock & #39; Window to the Courtyard & #39; was born, the budget of which was only $ 2,000,000, and collected around the world about $ 37 million. The film is on a good score, has a high rating and mostly positive reviews. It is also included in the national film register, which says a lot. In general, the picture became a cult and it is spoken about to this day, but in my feelings its importance was somewhat exaggerated, since Hitchcock has more interesting, dynamic and generally exciting tapes.
A little bit about the plot:
A photographer named L.B. Jeffries has been at home for a second month with his leg in cast after a fracture that is due to be removed. He is visited by nurse Stella and friend Lisa Fremont. When Jeffries is alone, he spends his time watching his neighbors. We are shown a close-up of what the neighbors are doing and we get to know them a little. Then Jeff notices something strange: a man and a woman live in the opposite house and at some point she disappears, and her husband behaves in a suspicious way. This alarms Jeffries, he thinks that the man is involved in the crime. . .
The plot is really boring, curious to follow everything together with the acting character. Together with him, we are witnessing rather strange events that we want to understand. Jeffries’ interest and observation help to understand the essence of the matter more. But at the end of the film, I felt dissatisfied, as if something was missing and everything was somewhat predictable. Of course, the film did not disappoint me, I felt Hitchcock’s unique atmosphere. The fact is that 'The window to the yard', for me personally, was less strong, and this is not because the action takes place in one room, but in the final.
It is worth noting that this project is the most successful in contrast to the remakes on it. And despite the feeling of ambiguity in relation to the film, it is still good in its genre and definitely tickles the nerves, however, like many other Hitchcock films.
7 out of 10
Photo reporter L.B. Jeffries broke his leg and was bedridden because of the accident. There is no television, no books, and... He starts looking at his neighbors and begins to suspect one of them of murder.
Honestly, I was planning to make top quarantine movies. But since 1) most people simply prefer to eat chips and become a witcher and 2) I belong to most of number 1, it all came down to one movie - the thriller of Maestro Alfred.
Yes, in fact, one of the reasons (the main one) is the isolation of GG, but the second is the memory of how much I love Hitchcock and this particular film.
And he completely immerses us in the society of a small society of apartments in one yard from the perspective of a curious photographer. And in this case, Hitchcock shows all his skill as a brilliant suspense director. He controls the mood of the audience despite the fact that for the whole film the hero never leaves the house, and almost all the action we watch through the Camera. The movie begins quite good-natured, showing the ingenious life of neighbors, and the director completes it with a full crescendo, gradually raising the heat of passions. The film depicts ordinary people. Not a supernatural evil like in Birds, not a psychopath like in Psycho, but ordinary people.
In fact, there are two storylines in the film, at least the main ones: this is the relationship between the photojournalist and his neighbor and a realistic picture of the relationship between neighbors. The first line is quite simple and at the same time complex, because there is not love against the background of troubles, but a banal fear of falling in love because of the difference of characters, which is always more difficult.
The second line runs through the film and expresses it much more subtlely. The film depicts ordinary people (albeit in the 50s) and the Director shows it in just one scene with the openly shown corpse and there is a thought: “Shouldn’t neighbors love each other?” And it helps to feel the whole suspense of the film - it's scary because we can be blind to other people.
VERDICT: A masterfully crafted, intense and thought-provoking thriller. Classic genre and impersonation of you in quarantine.
Imagine being forced to stay at home for weeks without being able to get out. It's the '50s, so the only entertainment you can have is a friend and a nurse. By the way, because of the heat, the windows opposite are open and the life of their inhabitants is like in the palm of your hand. Shall we watch? Something strange is happening in one of the apartments.
The Window in the Backyard is one of the most famous films by Alfred Hitchcock, the master detective. More precisely, the master of suspense, a state of anxious expectation and anxiety. Like a spring, the plot in the course of the film is increasingly twisted to reach its climax to the final.
Territorially, the whole action of the film is the hero's apartment or the view from the window. The greater responsibility falls on the script, production and play of actors. And I have to say, everyone did just fine.
About the talent of Hitchcock-director written hundreds of articles. Using simple cinematic techniques, he masterfully dominates the viewer like a puppeteer. Separately, I note the excellent dialogue, this is what modern cinema so lacks.
The way the actors play is somewhat theatrical, which is typical for the cinema of those years. You just have to get used to it. The main character, the photographer, with some irony played by James Stewart, looks great. With the brilliant Grace Kelly, the brightest and most sensual character, they turned out a great duet.
The film really keeps you on edge. In addition, despite the simple plot, it is quite deep and raises some moral and ethical questions.
9.5 out of 10
“Study, learn and learn again!” – these are the words of Vladimir Ilyich Lenin, which absorbed all Soviet people to the bone. But from the height of my years, I understand that this phrase has not been completed. I have a question: what to learn and from whom? After all, you can learn both virtues and base things, without any doubt that you are wrong. After reading the works of Alfred Hitchcock, I realized that this is the master from whom the director and, above all, the operator can learn many tricks. Even an inexperienced viewer, seeing his paintings, can learn something in cameramanship and directorship. The narration here will be about the film of the outstanding director of the genre of detectives and thrillers - Alfred Hitchcock "Window to the yard." It is a color adaptation of the 1954 story by the American writer of detective genres Cornell Woolrich “For sure, it was a murder.” The script was written by John Michael Hayes. I haven’t read the story, but in my opinion, the script is written in the best traditions of detective genres. For an hour and fifty-three minutes, I was captivated by an atmosphere of mystery and suspense. The music of composer Franz Waxman gave the picture even more of an inflating atmosphere, but vocal jazz, which is also present in some scenes, caressed the ear.
From the very beginning of the picture, the cameraman Robert Burks corresponds to his excellent work the title of the film: the camera moves smoothly through the window into the yard. It shows almost all residents, focusing on each of them. Thanks to this, we already know a little about the neighbors of the hero. For example, what they love and what they do. Enveloping the windows of the house opposite our hero’s window, she returns to the starting point and introduces us to Mr. Jeffrey, who, as always, was brilliantly played by American actor James Stewart. Introducing him to a wheelchair, we show off his plastered leg from foot to hip. But even without words, the operator gives a comprehensive answer to the question about his broken leg. The cameraman shows us objects in L.B. Jeffrey's apartment. From the broken camera and photos from the car accident, it becomes quite obvious that our hero is a photographer who was hit by a car. Once in the category of immobilized people, he is forced to sit in the apartment for days. From entertainment, he chose to observe neighbors whose windows overlook the courtyard. He has a loving girlfriend, Lisa Fremont, who accepts him for who he is: a selfish individualist who, in turn, pushes her away. I have heard a lot about the actress Grace Kelly, part 10 Princess of Monaco, who brilliantly embodied on the screen Lisa Fremont. There is a certain type of people who, from the first seconds of acquaintance, are attracted to themselves. That's what Grace is. Her movements and gestures are graceful, like a golden-winged butterfly fluttering from flower to flower. For this role in 1954, the actress received the National Council of Film Critics award as the best actress. By the way, a year later, John Michael Hayes for the script for this film was awarded the Edgar Allan Poe Prize. A tremendous amount of work has been done to create the film. The largest sets built at Paramount Pictures were created. If Alfred Hitchcock decided to make a movie, then no one in the film group would stand idly by.
Mr. Jeffrey's entertainment leads him to some very serious discoveries. Every day, watching the neighbors, he thoroughly examines their routine. One night, he notices that his neighbor, a jewellery salesman, would leave his apartment three times in the middle of the night and come back with a suitcase in the rain. Here in the photographer wake up the makings of a detective. He suspects that he carried his wife in a suitcase piece by piece. He begins a small investigation that eventually exposes the killer. In this case, he is assisted by his girlfriend Lisa and a nurse, played by Tony Award winner Thelma Ritter. But his friend and part-time police officer Thomas Doyle in the face of American actor Wendell Corey so until the end of the film did not believe his friend that the seller killed his wife. It was only when everything was revealed that he came to help. From my point of view, there were some “marks” about the killer himself. For one thing, actor Raymond Burr played his role unconvincingly. I found it hard to believe that the killer would have behaved like that. Secondly, it was very stupid of him to get rid of his wife, lock the windows in her bedroom. That's already raising suspicion. He also killed a dog that was playing next to flower beds in front of everyone. Thirdly, all the evidence against him was circumstantial, there was no direct evidence of his guilt, and he, instead of demanding evidence, immediately betrayed himself by attacking L. B. Jeffrey. Despite the fact that everything was predictable, the picture keeps the viewer in suspense until the end. I also liked the stories of the other neighbors: a lonely woman who decides to commit suicide, but after hearing the wonderful music of her neighbor, decides to go up to him and make friends. The newlyweds, who moved into the apartment, were very happy, but gradually their love withered, but in the end they stayed together, no matter what, etc. The director wanted to tell us to be vigilant to the people around us. You need to be observant, because it may happen that someone is between life and death, and the only one who can help is you. The only thing you need is your attention. Take, for example, Jack London’s novel The Sea Wolf, because if the Wolf Larsen had not seen Van Weyden sinking, he would have gone down. The film "Window to the back" will forever remain in my memory as an example of high-quality, real detective film. This film is a treasure trove of directorial and camera art.
Watching the neighbors of the apartment jungle is a dangerous occupation: at least it is ugly, you can find out what does not concern you at all, but when the hero is chained to the home dispensary, there is no Internet and TV, there are also no books, then armed with binoculars, the watchman on the post finds at least some entertainment.
A frame from the life of the heroes, whom we see in the windows of houses, pleases with its smooth transitions without mounting glues. It's like we're peeping into someone's life. There are many characters: the house opposite, and the house on the left. Each window opens a new story, a new life of strangers in the residential area. The show ends when we are transferred to the main character Jeff. Life for him is designed for small details, the emphasis is on the conclusions of the hero who does not build “air castles”, but follows brutal realism, looking the truth in the face. While he is chained to a wheelchair and bed he is visited by open people who are not locked in their “cage”.
A massage therapist who, although without education, says simple things, knows people by their character and manner of speech. A great characteristic of the relationship and the future of marriage emerges – more relevant than ever. Back in 1954, Hitchcock accurately predicted the politics of relations of the 21st century. The intellect, faced with stupidity, does not find a life partner, but what about feelings and love? It's a very sensitive topic.
The second guest of the sick observer is the girl Lisa, who does not revere her soul in Jeff, tries to disinhibit him, bring him out of deep thoughts, but faces not what she expects. Very beautiful actress Grace Kelly in a supporting role. This pair on the screen demonstrates affection for a person, not as a mandatory or consumer relationship, but as a joy, sincerity of feelings and feelings for him. The emphasis on living together is profound. Unanswered? This has not yet been revealed.
Returning to Night Watch, Jeff notices strange behaviors in his neighbors. The routine life outside the windows changes, tension and suspicion grow, and the hero tries to put all the elements of the mosaic in his head. Footage for a long time stops on the face of the actor James Stewart to show us his assumptions, his thoughts, which are expressed by facial expressions, accompanied by mechanical movements of the body. Brilliant work, when one behavior can show what is on your mind.
Paranoia flashed before my eyes with Shia "JUST DO IT" LaBeouf, although this is just a 2007 film referring to Hitchcock, logically. Suspense takes over when there is a disruption in the routine lives of neighbors. The chain of a single mechanism loses the link that lets the viewer into the world of the detective. Suspicions, verification of these suspicions and the desire to understand everything, attract to the screen, intrigue grows, secondary characters are connected. Beautiful and exciting. The situation is twofold: you seem to have already seen that technique, you predict the plot, but the script does not allow you to breathe calmly. For every action of Big Brother (or Big Brother, translations of Orwell are different) there is a reaction (“and the opposition of the gypsies is a fucking thing”).
At the end of the denouement, accompanied by risky actions, gives a huge range of emotions. Like Psycho, Hitchcock will first reveal all the cards, but he will leave the trump card for later. As a result, we have a great detective story, which marked the beginning of “observational” projects in the future. According to the quality of the shooting, I liked the minimum number of glues of frames, which is why panoramic perception expands the view of a particular location or object.
General impression: Alfred Hitchcock master suspense, his name is heard and if you have not seen the paintings, I recommend starting with this one. Why? Yes, because disturbing notes act out interest, and you are like the main character peeping into the yard, behind the neighbor. Turn off the tape will not work, you need to know what will happen next! And in general, this is a classic of world cinema, it is necessary to watch! Many films later rose in price and quoted “Window to the courtyard”.
The story of the film can be divided into 2 parts. In the first half of the films, we learn about Jeffries (James Stewart) who is confined to a wheelchair due to a broken leg. A photojournalist from boredom begins to observe neighbors living in his house, whose windows overlook the courtyard. We watch other characters, before us opens up a whole life – a composer, a single woman, a couple and other residents throughout the film open up to the viewer in increasing, touching the main storyline.
And the second part, where Jeffries, through his constant observations, comes across suspicions that one of the neighbors killed his wife. Here begins the whole game, to help GG comes his beloved Lisa (Grace Kelly - how beautiful she is, and dresses! Wrap everything for me! Ready to wear every day), and caregiver Stella (Thelma Ritter). Together they will learn: So what did the neighbor do?
A beautiful movie, where the dialogues are skillfully and wittyly built, and the fascinating plot catches its detective part, tense, fascinating, intriguing.
8 out of 10
From modern paintings, I recall Paranoia with Shia La Beauf and David Morse, which would tell about how the hero watched from the window of his house or apartment. “The Window in the Backyard”, which is a classic of the genre and classics from Alfred Hitchcock, turned out to be essentially exactly what a detective thriller should be.
Photographer Jeff (James Stewart) is forced to spend some time inside the walls of his apartment - due to an accident with a car, as a result of which he broke his leg, Jeff sits plastered from foot to hip and entertains himself by watching the neighbors from the window of the apartment, studying their own lives secretly from them. This is how he spends his day after day, focusing his attention on an obese man across the window who Jeff thinks killed his wife. Every day his suspicions become more thorough and plastered photographer, picking up the fascinating role of a detective, begins his own investigation, remaining within the walls of his own apartment.
First of all, I want to note the magnificent atmosphere of universal trust and goodwill, which results from the absence of shyness or fear in people, to be seen from the windows opposite. Personally, I am very comfortable and pleasant to see other glowing windows from my own window and understand that the world is not limited to my apartment and life boils in exactly the same stone “caves”. With closed curtains, the impression of a closed space and loneliness is created. Especially if you’re single, like photographer Jeff. Even if he has a girlfriend, he, being a hardened bachelor, tries to defend his male independence with all his appearance, confusingly instilling in the second half and himself that he is much better alone.
Looking with the hero James Stewart in the windows of neighbors, you can catch a variety of characters and lifestyles. Here the drunken musician returns from the party in his bachelor's nest, where he is waiting only for a piano, here the housewife carefully lowers the basket from the upper floors so that her dog could climb upstairs, here the girl in underwear flaunts in the window and is not at all embarrassed by her appearance, but...
Despite the fact that all the action takes place within the walls of one apartment, “Rear Window” turns out to be a very dynamic film, due to the dialogue of the main characters, as well as the tense moments directly affecting the photographer’s investigation. In addition, Grace Kelly performed her role perfectly, whose character was very active both in terms of behavior and in terms of building a conversation.
Chaining Jeff to a chair, driving him up his hip in a cast, Hitchcock masterfully recoiled on the audience, offering him to watch with the hero Stewart for his bride from the window as she ventures out to the apartment of the alleged killer. At this point, the person watching what is happening in the film may be ready to help the potential victim, shout to her not to enter the house or apartment, not to turn on the lights, but can not do it. As well as the photographer Jeff, who because of the cast absolutely will not have time to save her beloved if she is in danger and will not be able to scream to attract her attention, because then he will scare off the one he was watching and will betray himself.
The film is a very high-quality, skillfully built detective thriller that attracts its mystery and recreates the atmosphere of investigations, for example, the legendary detective Hercule Poirot, when suspicions and circumstantial evidence gradually grow into clear facts, and the identity of the killer manifests itself fully only to the final.
But look at you. I do not impose my opinion on anyone.
My wife can only be a girl for whom buying a new dress will not be the greatest joy in life.
Top 250
#250*
This film opens the Top 250 of the best films of Movie Search. I am already quite familiar with the work of Alfred Hitchcock, but this is the work I have seen for the first time. Usually Hitchcock's name is associated with thrillers, as well as with suspense (an alarming wait). Well, in principle, the "window to the yard" perfectly fits the second designation. This is a great example of how to combine the genre of detective and suspense in its pure form. But everything in order.
Photojournalist Al B. Jeffries has been confined to a wheelchair in his home for weeks due to a leg injury. Boring from boredom, he watches out the window for people living in the neighborhood. But suddenly the wife of an unsociable neighbor disappears, and Al B begins to suspect him of murder. Conducting his own investigation, he is increasingly getting closer to the solution.
I liked the movie, but I thought it was too long. And more precisely, we can say that the plot component is very long swinging. I don’t know why it was necessary to do this, most likely to increase timekeeping. Although, if you consider that this is not an independent work, but a film adaptation of the novel, it is forgivable. But still it was possible to throw out some elements that are not only not important for the overall story, but also confuse the viewer.
As I said, the film is full of details and details. And they create a lot of characters. Only a few are brought to the fore, but the general background is made by third-plan heroes - neighbors. They constantly rock the boat of the film genre, thereby distracting from the main intrigue. It may be good for the detective, but in my opinion, it is here that a little too much with it.
These are all downsides. And the rest of the "Window to the back" turned out to be a very high-quality and exciting film. No wonder it is called one of the best creations of Hitchcock. Maybe he is not as famous as the same “Birds” or “Psycho”, but he is not inferior to them in tension and intensity of the situation. Plus you can add a great cast, as well as the soundtrack.
Before viewing the film “Rear Window”, the viewer is at a crossroads: you can start watching the film as a detective, or intuitively immediately begin to consider it as a parable, which makes the movie immediately be perceived deeper than it may seem to those who went on the first path. I am one of them, by the way.
So, I turned on "Rear Window" with the hope of seeing a detective story sturdy with script and staging. And that was a mistake. You don't believe in him right away. Do not believe in such a courtyard, where all people, being in their apartments, open as in the palm of your hand, perfectly and conveniently view all the rooms, all the faces, you can hear conversations, not to mention how flawlessly lit. Even when doing something socially disapproved, people do not care about the mystery, leaving others the opportunity to quietly observe what is happening. And here we get not a film-detective, but some theatrical production with scenery, where the secondary characters have their own individual platform, their piece of space, within which they designate and develop their image, especially without going beyond its limits. Alfred Hitchcock arranged symbolic aquariums with people on different floors and planted a man who watches these aquariums from boredom. A detective story with a potential murder seems secondary. As a condiment to the main dish - the very fact of observing the lives of others and raising the question of ethics. While others do not hide anything, except that the honeymoon, which the couple spends without getting out of bed.
Against the genre, the detective here says that there is no albeit cliched, but an important part of the genre - explanation. The viewer does not understand anything at the end. If there are questions “how was it executed?”, “so what exactly happened?”, then no one will answer it. You have to rely on your imagination and imagination, which throw questions, and they will try to come up with truthful answers.
Therefore, I think that you need to tune in to this film as a conditional story. With such a slightly surreal assumption. And then it will really make an impression. It is very beautifully shot, it is rich in live dialogue, it admires the beautiful Grace Kelly and the glowing bright blue eyes of almost all the main characters. The movie is colorful and, I would say, academic. To be honest, I find it hard to understand his cultism, quoting, parodying, rethinking and remakes. It’s hard for me to understand the importance of the film among detectives. But that's my problem, not the movie. He just has no problems, he firmly took his worthy place in the history of cinema.
7 out of 10
Photographer L.B. Jeffries (James Stewart) broke his leg and was confined to a wheelchair. He is visited daily by his nurse, Stella (Telma Ritter), and his friend Lisa (Grace Kelly) visits him. That's all communication. But, on the occasion of the heat, all the neighbor’s windows are open – that’s watching their lives Jeff and has fun. And one day he is observed to the point that he suspects one of the neighbors of murder.
Amazing movie. Another evidence of how, literally without removing the camera from the scenery of the room (almost all the shots that do not show the room - show a view from the window to the yard) and with a very limited casting can make a masterpiece. Just to do: collect the right faces, shoot them in the right angles and cause the viewer the right emotions. And what's also striking is that, for all its experimentation and innovation, Hitchcock is absolutely not elitist. “Window...” is not an art house for “the poor”, it is just a thriller of the quality of directing and playing unimaginable at present.
Oh, and let's kick the critics, hard to dig up sexual overtones.
“Behind the facade of Jeff’s laid-back and successful personality lie fear of sex and voyeurism.” Yes, let’s forget that not being ready to marry does not imply fear of sex, that a decent man does not drag a girl to bed who is not ready to marry in order not to spoil her reputation, and curiosity is not a sexual perversion, but, on the contrary, a sign of a living mind.
The picture 1954 year incomparable director Alfred Hitchcock tells the extraordinary story of the photographer-reporter L.B. Jeffries, played by the ageless Jimmy Stewart.
His hero broke his leg and for several weeks has been burning from summer heat and boredom, the only entertainment for himself is being watched from the open window of his apartment for neighbors in the yard, each of whom has a kind of pastime.
A young ballerina seems to be searching for a pious and rich man; a pianist suffers from the impossibility of writing a magnificent piece of music; a single lady goes mad from the love loneliness that crushes on all sides; young couples do not leave their bed burning with passion; an experienced couple prefers to spend sultry summer nights on the balcony, and they regularly wander through the precious nights near it;
This very man is interested in the hero of Jimmy Stewart, who assumes that a heavy businessman killed his wife in order to sell all the jewelry left from her after a while, thereby becoming rich in an extremely fast time.
In thinking about this assumption and in the accompanying surveillance of the criminal businessman Jeffries Jeffries are helped by the nurse , who daily cares for him at the same early agreed time, which was embodied on the screen by Thelma Ritter, and the charming passion of the main character by the charming Princess of Monaco Grace Kelly, so early ended her acting career two years after the release of this tape.
The main highlight of the film, which after some time will inspire the Argentine prose writer and poet Julio Cortazar to write a novella called "Devil's Slobber", which in turn will lay the basis for the plot of the parable film Michelangelo Antonioni "Photomagnification", is the determination for each viewer whether the same large middle-aged man is the murderer of his own wife or only the confirmation of his own illegal victim.
"Window to the yard" is one of the best works of Hitchcock , which once again amazed the audience and film critics with an amazing plot, an energetic suspense and a mass of interpretations of the actions shown on the screen.
And yet you do not want to become a victim of someone’s idleness, skillfully explaining your possible criminal guilt, which turns out to be just a projection of the not quite healthy mind of an invisible observer.
9.5 out of 10
From watching the film I received great pleasure, as well as from studying information about it.
The first association, which arose - hung in cars advertising in the subway. A call to watch the neighbors, or else it happens. In fact, it is difficult not to remember advertising, unambiguous correspondence.
As soon as the main character takes up the camera, Antonioni’s “Photomagnification” immediately comes to mind. It is difficult for me to state what led to this. It's probably a combination of a camera and maybe a fake crime. Later, reading Wikipedia, it will be found that indeed, Photomagnification was taken under the influence of Cortazar’s novella, written under the impression of “The Window in the Courtyard”. Funny. It's only 12 years of difference, but a completely different film, a completely different philosophy. Actually, in Photomagnification it is philosophy, and in "Window" it is a thriller.
But the thriller is weird. He's surprisingly calm. No passion, no chases and shootings. It's such a homely, cozy thriller. Just like the courtyard where the action takes place. Even in the most exciting scenes, there is no special intensity of passion. Such ease as in “North by Northwest” is not felt, but the drama of “Psycho” does not reach. This is partly facilitated by rather cardboard and naive (to date) shooting. Attempts at special effects, such as falling out of a window, look rather ridiculous, and dilute the drama of the situation.
The main sadness for me was the coloring of the film. I would prefer to watch it in black and white, as the director intended. But where to take this officially is unclear. In stores, it is issued in color, despite the fact that the cover is black and white. It seems to me that after coloring, the film loses a lot, because the accents, the frame construction - everything changes. Oh, come on.
Wikipedia says that Jeffries was inspired by photographer Robert Capa. Funny, I recently read the book “Russian Diary”, where one of the main characters is just this photographer. A very similar character turned out, although when watching the film this association does not come to mind.
All the main characters were very liked. Perhaps they are somewhat exaggerated, and so I want to write that this is the legacy of silent cinema... if “Window” did not separate from it twenty years. And I have statistics on films of that time, there is almost nothing to compare. But most likely, it's just an old acting school. Show emotion, convey clearly and definitely the state of the character, so that everyone understands. The level of theater, rather than modern cinema, perhaps.
Well, it's a great movie. It's a classic. To understand where it came from in cinema, it is advisable to get acquainted with it, especially since it is not bad as a film, and the actors here are also wonderful.
- My wife can only be a girl for whom buying a new dress will not be the greatest joy in life.
I'm not very familiar with the work of horror master Alfred Hitchcock, and this is the first time I've seen this film. Not to say that I saw what I expected, but in its kind this film is very good.
Photo reporter Al B. Jeffries, due to a broken leg, is forced to sit at home all day long. The only entertainment for him is to look out the window, watching the neighborhood windows. Having already memorized the daily routine of his neighbors, Al B suddenly notices something strange in the behavior of a man opposite him.
This film has little to do with Hitchcock's favorite thriller genre. But despite this, the film retained the master’s love for suspense. Hitchcock masterfully created an atmosphere of unsettling uncertainty and tense anticipation in his films. And there is plenty of that.
The plot is quite fascinating. At first, we are introduced to the main characters, and then the story begins to lead us to the main event - suspicion. Watching the logical reasoning of the main character is very exciting, and even more interesting when the plot begins to throw new details.
The film is quite limited to locations (locations), but this does not cause boredom with monotony. Coupled with an excellent script find, Hitchcock quite competently wrote into the characters and a slight sense of humor, which dilutes the slightly monotonous narrative of the picture.
- When a General Motors CEO runs to the toilet ten times a day, the country should be ready for anything.
What about the actors? I'm not familiar with James Stewart's acting, so there's nothing to compare it to. But how well he fit into his image in this film I really liked. And sitting in the whole movie with almost no movement is quite difficult. And of course, the beautiful Grace Kelly, who played a model friend of the main character, without a doubt, the main decoration of the film.
Everybody watch! The window in the yard is great for acquaintance with the work of Alfred Hitchcock, and just lovers of brains while watching the film.
8 out of 10
Jeffrey is a successful photographer who does not earn his money by name, but by overwork. The worst thing that could happen in his life was a broken leg and boredom. Sitting in a stroller, Jeffrey spends time watching the residents, as the window of a stylish apartment overlooks directly into the yard, thereby opening a view of the neighboring building. You can see a lot, a lot. The lady on a sun lounger greets her neighbor, the musician drinks brandy and composes melodies, in her souls wanting the written compositions to glorify him in the eyes of the object of her warm feelings, and do not forget about the ballerina, she every day hosts rich men who are like predatory wolves, insidious. However, the person in the wheelchair does not care much. The nurse visits him for a back massage, and the girl, Lisa, distracts from everyday minority. So the exhibition goes on, slowly, talking about life and death, love, courage and indecision, until the style of Alfred Hitchcock wakes up, only to have a murder committed in the building opposite. And if the first ten minutes of the film seemed as boring as the very act of spying on Jeffrey’s neighbors, then the rest of the forty-three minutes of the story can be watched in one breath. An hour of forty-three minutes, where the influence of the master of thrillers is noticeable in every rustle, frame and body movements of artists.
The picture “Rear Window” has a simple plot, but a lot of interesting dialogues, thoughts, the very course of the investigation of the photographer Jeffrey and Lisa is built on guesses, and the viewer is curious how the assumptions of the characters will become evidence against a terrible female murderer, a Really terrible killer, because people dismembering sick wives for the sake of mistresses are damn few, fortunately. When the characters take a break from the investigation, you can enjoy the gracefulness of Grace Kelly and the artistry of James Stewart, their romantic line softens the presence of recurring scenery that was erected for the sake of plot validity.
Meanwhile, Hitchcock continues to escalate the atmosphere, making his maniac increasingly mysterious, at the same time intimidating. The atmosphere created by the director is presented skillfully, especially in those episodes when the night hangs over the town - a mysterious, full of secrets, and Jeffrey has only binoculars and wit, but sometimes even the military arsenal does not help to overcome internal fears, what is there to say about cameras and binoculars? Nothing.
It was not without author’s moral teachings, of course, some of them know by heart and without Alfred Hitchcock, yet the repetition of the mother’s teaching, and to recall the lessons of caution, ingenuity and that is important about the presence of female intuition. When a lady says, let's start from the beginning, she's ready to go all the way, she trusted you. Or maybe there is no special philosophy and Hitchcock, because of the kindness of the soul, did not want to leave the ambitious photographer alone, perhaps so, as the unambiguous ending hints at. Two pairs of legs, because one is better.
Gather the evidence by watching I decided to get acquainted with the work of Alfred Hitchcock with this film and was not disappointed. When you decide to watch a classic, which is usually praised, there is a risk that the picture will not meet expectations. In this case, this did not happen, although expectations were not overstated. Direction and acting are not in doubt. The viewer gets the effect of being present, as if he were in a room with the character of James Stewart. The only downside to the film is perhaps the banality of the crime and at the same time the understatement, but homegrown detectives watching the neighbors could hardly learn more. By the way, the side characters (ballerina, Miss Lonely Heart and pianist) are very adorning the film. Someone will seem a disadvantage, but the film is not terrible, but keeps in suspense until the end. 8 out of 10 Original
Another painting by Mr. Alfred Hitchcock on my list is definitely worth a review. Despite a large share of suspense, for me, the films of the English Master are some soothing balm for the soul. I can't say that "The Window in the Backyard" has become my favorite of everything I've seen before. From my personal pedestal still does not go "Psycho". However, what is so unusual, exciting and exciting in the picture that for many years it remains a benchmark for many filmmakers and film lovers?
In fact, nothing you could expect from Hitchcock. For me, Mr. Alfred is a very stencil director. You could say template, but this word is perceived with a heavy dose of negativity in the environment of Cinemagolics. I am not saying this with a negative background. If, for example, Kubrick, the whole cinema for me is different according to different criteria, then Hitchcock has the same atmosphere, image system and depth of thriller narrative. However, this stencil is more a plus, which constitutes the integrity of the director, than a minus of “uniformity”.
Traditionally, I’ll start with the fact that we are immersed in history, guided by the camera of the skillful Master Robert Burks, with whom Hitchcock has already successfully worked. In my opinion, these two are a great team, understanding and feeling the picture in the same way. Simple beautiful colors only give the necessary conciseness and soothe the eye, while our soul swims in the raging sea of suspense. Involuntarily, an analogy arose in the mind with the paintings of Edward Hopper. Some colors, locations and figurative reversals are really something similar to the paintings of Alfred Hitchcock (something, and “Vertigo” is so accurate!).
You don't have to talk about the plot. Hitchcock always screens extremely interesting, somewhere confusing and not deprived of philosophical meaning, stories. To observe the measurably flowing personal life of all involuntary participants of the narrative is surprisingly interesting. And the most amazing thing here is that everyone who at least once falls into our field of view, as the action unfolds and becomes a separate bright personality, whose history we somehow imagine with great accuracy. As much as possible omitting the plot, let us understand what an important philosophical question Hitchcock raises in his picture. Without a doubt, the director tries to ask each viewer about the true authenticity of the visible. Is everything we see the truth? This was one of the fundamental questions filmed 12 years after “Rear Window” film by Michelangelo Antonioni “Photomagnification”. Antoine de Saint-Exupery once said this wonderful phrase: "In reality, everything is different than it really is." Often people do not understand it, considering it just a stupid set of words, but in my opinion, this quote is a great epigraph for “Rear Window”.
I am not at all prone to panegyricism about this work by Hitchcock, but to watch Stewart begin the practice of hanging on the edge, to watch another unusual story, shown in a completely amazing way, to enjoy another classic example of cinema, it is definitely worth seeing this movie.
Only after watching the film, after the stupid and satisfied smile came off my face, I realized that the whole film was shot in almost one room.
There are films like Locke, The Exam, 1408, and others where the same idea was realized: an enclosed space, a couple of actors, and the tension they were supposed to maintain. In movies like this, you know that and you appreciate it. But aerobatics is when there is neither time nor desire to analyze the scene and assess the director's moves. All attention is focused on the plot, the actors and the picture as a whole.
Despite the obvious genius and innovation (for the appropriate time) of old films (from the 60s and earlier), the modern viewer often lacks dynamics or bright colors. You can appreciate Fellini’s “Sweet Life”, but not experience euphoria after watching. However, fans of modern detectives and thrillers just “the doctor ordered” to see at least a few paintings of Hitchcock, and I think it should start with the film “window to the back”. And not only to see who cultivated suspense in cinema, but in order to enjoy a qualitatively played history, to guess about the details of the crime and just spend some time with the classics.
' Window in the yard' is what is called an "honest detective story", that is, the viewer learns about the details of the crime together with the main character and is able to independently reveal the essence of the case. You will not see any unexpected endings or stuffing of new evidence in the last 5 minutes. Only fair play with James Stewart and Grace Kelly in the title role.
In the story, a charming man, a photographer named Jeff, sits all day in his small apartment after breaking his leg. He suffers from the summer heat, the monotony of passing days and from boredom sits near the window and watches the life in the yard and the life of his neighbors. Jeff counts the days when he will be removed from the ill-fated cast and sluggishly fights off the attention of the spectacular blonde and secular diva Lisa Carol, who in his opinion is too good a game for him and too fragile to ride with him in the Middle East or South America for a couple of photos of elephants, Arabs or a local festival.
But... but suddenly, late at night, he notices the strange behavior of neighbors on the second floor of the house opposite the married couple and gradually begins to suspect that a murder has occurred.
In "Jeff's team" - the prosecution team: he, Lisa and coming from the insurance company nurse Stella. The team playing against them is experienced detective Thomas Doyle and a critical lack of evidence of the killer’s guilt.
Nurse Stella is a well-written supporting character: an energetic and straightforward, confident and completely devoid of sentiment.
Detective Thomas Doyle, also a supporting character: a good-natured, calm, self-confident, balanced man who, using simple logic and facts, convinces Jeff that no murder in the apartment did not happen.
It is worth noting the completely unobtrusive love line that develops between the characters of Grace and James. No tears or passions. Just a beautiful woman and a man who love each other trying to sort out their relationship against the background of developing events.
Also pleasant scenes with the neighbors of the main character. The storyline is clearly marked, however, all viewers are allowed a little “peep” and learn small stories from the lives of ordinary people. Here on the top floor in an apartment with panoramic windows there is a pianist who seems to be in love with the wife of the owner of the apartment, in the next house there is a strange married couple who sleeps on the balcony, and on the first floor there is a fat woman who molds “something” out of clay all day long. Many and many other people live in apartments that open to view the main character and us viewers.
This picture "Window to the Backyard", as a film, as a product for the consumption of all moviegoers, was suitable then in 1954 and is still interesting. There is no way to find other words for the film than such as: tension, aesthetic pleasure, a feeling of closeness of the train of thought with the main character, intrigue and pleasure. I got a great pleasure from the acting, an interesting plot and directing work.
Captivated by photography, Jeff sits out the last week with a broken leg and begins to observe peaceful neighborly life in the window and at one moment the usual cycle of events in one of the apartments changes dramatically, which the main character suspects murder.
Surely everyone was interested in how a person behaves outside society, no matter how twisted in his secluded place he reveals his essence and become himself. And the director, offering this idea, no less brilliantly embodied it by making a kind of crippled viewer from the main character, who is chained to a chair, comparing this with the viewer of the film himself, who can only watch and assume. But perhaps most importantly, the film does not revolve around the script sly and depicting mega-cool spies and intricate storylines, Hitchcock first of all approached the film as an artist and gave the viewer himself to build a number of his hypotheses based on some of the points shown. Really, who's interested in watching someone suspect someone when you're your own detective. Also, the film is complemented by a good religious overtones, because all the characters involved could not be reunited with their soul mate while evil reigned in their quiet and cozy quarter.
One gets the feeling that a certain mass of people has a certain conspiracy regarding the old movie, judging by the way they talk about it, something in the spirit of “The old is not relevant, how you can watch it at all”, appealing at the same time to a poor-quality picture, the lack of special effects and similar reasons. It is also foolish to deny that there are films that can safely be attributed to outdated and remakes on their background are much more convincing, but as a rule, such a movie does not carry anything valuable. The most unique in the artistic sense of Hitchcock’s film “The Window in the Backyard” does not turn the language to call outdated and in general the entire filmography of Uncle Alfred will leave the inexperienced viewer indifferent. And a specific work is something like one of the category of unique, unique and eternally relevant.
“Cinema should not be treated as a piece of life but as a piece of cake.” – Alfred Hitchcock
10 out of 10
- My wife can only be a girl for whom buying a new dress will not be the greatest joy in life.
I'm not very familiar with the work of horror master Alfred Hitchcock, and this is the first time I've seen this film. Not to say that I saw what I expected, but in its kind this film is very good.
Photo reporter Al B. Jeffries, due to a broken leg, is forced to sit at home all day long. The only entertainment for him is to look out the window, watching the neighborhood windows. Having already memorized the daily routine of his neighbors, Al B suddenly notices something strange in the behavior of a man opposite him.
This film has little to do with Hitchcock's favorite thriller genre. But despite this, the film retained the master’s love for suspense. Hitchcock masterfully created an atmosphere of unsettling uncertainty and tense anticipation in his films. And there is plenty of that.
The plot is quite fascinating. At first, we are introduced to the main characters, and then the story begins to lead us to the main event - suspicion. Watching the logical reasoning of the main character is very exciting, and even more interesting when the plot begins to throw new details.
The film is quite limited to locations (locations), but this does not cause boredom with monotony. Coupled with an excellent script find, Hitchcock quite competently wrote into the characters and a slight sense of humor, which dilutes the slightly monotonous narrative of the picture.
- When a General Motors CEO runs to the toilet ten times a day, the country should be ready for anything.
What about the actors? I'm not familiar with James Stewart's acting, so there's nothing to compare it to. But how well he fit into his image in this film I really liked. And sitting in the whole movie with almost no movement is quite difficult. And of course, the beautiful Grace Kelly, who played a model friend of the main character, without a doubt, the main decoration of the film.
Everybody watch! The window in the yard is great for acquaintance with the work of Alfred Hitchcock, and just lovers of brains while watching the film.
8 out of 10
Backyard Window (1954), directed by Alfred Hitchcock, left me confused. On the one hand, the impression remained positive, on the other hand, I was missing something, some unexpected turn of events. If in the beginning they developed very rapidly, then in the end everything became predictable.
The actors played their roles amazingly: the main character Fred, a photo reporter who is forced to be in a wheelchair because of a broken leg, his fiancée Lisa, a lover of fashion magazines and beautiful outfits, a nurse who checks Fred’s condition throughout the film, as well as neighbors: a pianist, a ballerina, a single woman, a married couple and one suspicious person who begins to follow our main character, who suspects a neighbor in the murder of his wife.
I also liked the actors from the external point of view, magnificent dresses, beautiful outfits, very beautiful appearance. Everyone has the skill of charm, all the roles played sincerely, each passing through themselves.
Surprisingly, the events took place through Fred’s observations from his apartment window. I feel like I'm watching my neighbors through my own binoculars. You are absorbed into this atmosphere and begin to feel the mood that is currently subject to the main or secondary character. It is this film that I refer to the category of unusual films that I personally watched.
In general, the film liked, there are no drawbacks, except that the film is a little delayed. That's why you expect something more from the end.
“The Window in the Backyard”, perhaps the most legendary (immediately after “Psychosis”) film of the great master of saspieens Alfred Hitchcock (who this time was deprived of the American Film Academy, without receiving the coveted “Oscar” for best director). It skillfully combines extremely unusual, technically difficult for the 50s shooting, scripting skills, directing and acting. Each frame of the film is verified with microscopic accuracy, each character has a character, shown from different sides, because we, the audience, as well as the main character, temporarily wheelchair-bound photo reporter Jeff (James Stewart), observe the residents of several houses through the window of his apartment, leading to the courtyard.
The yard becomes the center of attention when Jeff, along with his girlfriend Lisa (Grace Kelly), notices one of the neighbors missing his wife, chained to the bed, and one night he leaves the apartment several times with a suitcase, returning and leaving again. In the head of a bored photographer, vague doubts appear, the most eerie pictures of what is happening appear. He calls and asks for help from his friend, private detective Thomas Doyle (Wendell Corey), but with a quick glance “studying” the personality of this neighbor, his history, questioning witnesses, other neighbors, Thomas comes to the conclusion that Jeff’s theory is far-fetched, and his neighbor is an ordinary layman who had no idea to kill anyone.
Thus, the main character, his girlfriend Lisa and sometimes visiting the apartment employee of the social service Stella, an old woman, with a typical “agathakristiv” character, must independently unravel the case, collect evidence, without resorting to the help of police officers, from whom not only help can not wait, and simply will be in their eyes an idiot, an inventor who has recounted too many detective novels. Looking at the trio of "investigators" - a photojournalist, a model and a housekeeper - there is no doubt that the film is an ironic thriller. For Hitchcock, this is a very atypical project, without the disturbing music of Bernard Herrmann, without sharp editing, almost without elements of “intimidation”, visually more vivid and colorful, like a lively theatrical production.
Alfred Hitchcock can be considered the founder of many genres and subgenres in cinema: from “frightening thrillers” to “melodramatic detectives”. “The Window in the Backyard” was no exception for the eminent director, having a huge influence on cinema, inspiring, in particular, Michelangelo Antonioni on his first English-language film “Photomagnification” and Francis Ford Coppola on “Inter-Cross-Paternal”. "Conversation." Hitchcock was the first film pioneer to question human competence as such, a sense of objectivity of reality partly hidden from view. He “cut off” the main detective story from the personality of the main character, making him a person from the outside, a distant observer, and not a direct participant in criminal events. The so-called “drama of alienation” (as many people used to characterize Antonioni’s work) and “detective observation” – where eavesdropping and/or spying are not one or more specific scenes, but the main technique – the work of a great and powerful man with a formidable bird on his shoulder and a film camera in his hands.
10 out of 10
"Galop for Hitchcock." The era of masterpiece. Race fifth, lap two: "The abyss beyond the window"
Window in the Backyard is perhaps one of the most famous and discussed films in the history of world cinema. Even after many decades since its premiere, it still arouses considerable interest among film critics and ordinary viewers (in the late eighties, when the film was re-released, it even entered the top twenty highest-grossing films of the year). During its existence, the picture underwent a detailed analysis and was interpreted and read along and across. This text will reveal only a part of all semantic constructs and artistic features of the tape, the most obvious and generally recognized. However, it should be remembered that “Window to the courtyard” is one of those rare paintings that are always wider than any interpretations applied to them.
The script is based on Cornell Woolrich (better known as William Irish)'s short story "Murder Surely" (also called "Murder from a Fixed Point of View") and two articles from the crime chronicle. The story tells the story of a photo reporter of mature years Jeffries, who broke his leg for the sake of a piquant picture. For two months, all his activities are limited to watching neighbors, interrupted by fleeting but fervent disputes with his girlfriend Lisa about the upcoming life together. One night, Jeff notices the strange behavior of one of the tenants, by all indications indicating that he killed and cut into pieces his own wife.
From the purely technical side, the film continues and organically completes the aesthetics of “hermetic” shooting in a closed space. Earlier, Hitchcock in a similar style was already staged experimental tapes “Rope” (with the participation of the same James Stewart) and “In case of murder, dial “M” (in which the main female role was played by Grace Kelly). However, “Rear Window” not only summarizes the creative findings of previous paintings (also symbolically bringing Kelly and Stewart together), but also brings them to the last limit, which is a strictly fixed point of view of the main character, through whose eyes the viewer the whole film and observes what is happening.
The brilliantly developed aesthetics of the cinematic look is, perhaps, the main artistic feature of this tape. In order to fully understand it, you should first turn to the structure and composition of the scene of the picture.
It is not difficult to see that the world of the film is strictly divided into two halves. On the one hand, we have Jeff suspended in a state of existential choice before his upcoming marriage to Lisa. On the other hand, his neighbors in the court, symbolically representing all possible stages and ways of development of marital relations: 1. On the way to marriage, a young dancer and a lady of Balzac age 2) Newlyweds, surrendering to the unstoppable lustiness of the honeymoon 3) A childless couple projecting their unrealized love onto a decorative dog 4. A married couple who broke up due to the murder of his wife by his beloved husband and finally 5. Divorced single middle-aged musician.
On the other hand, in the usual "yard-well" looms an epic canvas of a cluster of diverse human destinies and characters, which can be perceived as a representation of the world of being, fragmented by squares of windows, imprisoning each resident in a kind of existential chamber. The picture of the world, painted by Hitchcock, strives for plausibility and naturalism, because the life of the inhabitants of the yard is thoroughly imbued with tragedy and vice. A lonely musician arranges rabid orgies, a dancer pleases rich suitors, a lonely lady makes a suicide attempt and none of them cares about the other. However, Jeff is no stranger to contemplating such gloomy landscapes of human destinies.
Jeffries is a pure voyeur, doomed in life to a static position of an outside observer on a number of aspects. Physically, a helpless cripple confined to a wheelchair (the murdered wife from a neighboring house is in the same conditions and represents a kind of mirror image of the protagonist). Mentally, he is a cynical loner, alienated and wary of the “reality” of serious family relationships. And on the professional side - the photographer, whose working equipment serves not only as a means of earning, but also as a tool of protection against the invasion of reality into its existence.
It is known that the coefficient of realism of events refracted through the lens of a photo/video camera is reduced by an order of magnitude. Chaotic, unpredictable, eternally fluid and aggressive reality changes its aggregate state and solidifies in a clearly structured and harmless image on film. Jeff perceives reality only through the sight of the camera, which makes it less disturbing, turning into a simulacrum. It seems to him that he is in control of the situation, keeping a contemplative-escapist distance from it. However, this is far from the case, because Jeff himself is necessarily the object of observation. In this respect, the ingenious episode is indicative, where the hero watches deep into the night outside the window of the murderer, in which in the midst of impenetrable darkness only a quietly smoldering cigarette light appears, as if reflecting and absorbing his gaze. Hitchcock gives this fragment some mystical connotations, as if the character is not being watched by the subject, but by the boundless and ineffable abyss of death and eternity.
The main thing in the film is the last scene in which the killer breaks into Jeff’s house, destroying his protective shell. Doubly symbolic is the way of protection that the main character chooses. He tries to stop the villain with a photo flash, as if hoping, thus photographically neutralize the danger, as stated earlier. But Jeff also seeks to blind an uninvited guest, as if afraid of being seen by them! Oddly enough, the main danger for the hero is not physical violence, namely the view of the killer. When seen, Jeff automatically loses the point of his passive-contemplative worldview and becomes one of the actors in the tragic spectacle of life. Moreover, the killer even throws the hero out of the window, as if exposing him to the public. However, it is such a traumatic event, a “borderline situation” that Jeff needs to get out of the world of copies, simulacra and frozen images and “resurrection” for real life.
In general, the “yard window” can be seen as a metaphor in three ways. First, as an allusion to the viewer’s (in particular, cinematic) perception of the world through the “window” of the body / video camera. Here, the film clearly “looks” into the future, warning of the coming era of voyeurism and passion for simulacra of intimate, marital relationships in the form of a variety of reality shows. Secondly, from the point of view of social criticism, the picture represents the idea of an absolute social panopticum, described by Michel Foucault, in which everyone is watching everyone. Thirdly, the film can be read as a purely existential tape, because in the essential depths of any person there is a voyeur, passively watching the changing picture of the world and unable to understand that he is also inscribed in it. Very few people can look at their own fate from a special angle.
These are the main connotations of the film. Many interesting things remained behind (for example, how subtly the love and detective line converge in the episode when Lisa puts the ring on her finger, sneakily demonstrating it to Jeff or how significant the work of a single composer plays for the plot). But in the case of “Rear Window”, like no other movie, it is better to “see” once. Literally.
A restless and adventurous journalist breaks his leg to his trouble. Now he is confined to a wheelchair and a non-stop seat in the apartment. But Jeff (James Stewart) is not used to sitting idle, so the new object of his observation are neighbors whose life is so convenient to observe through the window into the yard. And then one day before the eyes of Jeff unfolds a whole drama in which, according to the main character, the husband kills his wife. Or not? There is no evidence, only guesses. Jeff’s ears, arms and legs are his fiancée Lisa (Grace Kelly), whom the man, as it turned out, greatly underestimated, as well as Stella’s nurse (Thelma Ritter), who, in the end, too, is imbued with Jeff’s conviction. So, after all, was the murder or all – the result of the fantasy of a bored man?
“The Window in the Backyard” is the film with which I decided to start getting acquainted with the work of undoubtedly brilliant director Alfred Hitchcock. And it was a great introduction! The film is very clearly built and incredibly verified: there is not a single extra frame. The viewer, like the hero himself, observes from almost one angle the drama of the lives of ordinary people - neighbors: whether it is a lonely and desperate woman, an equally lonely composer, newlyweds or a dancer. Small scenes without words perfectly convey the story of their life, put on display. All the action takes place in almost two sets - in the yard and the apartment, but, as you know, not a place paints a person, but a person's place, so even in this world the curious and observant Jeff finds his plot, and Alfred Hitchcock skillfully pumps up the atmosphere.
The second side of the story is the relationship between Jeff and Lisa. Lisa, according to Jeff, is too pampered and pampered, so he can hardly become a worthy partner in dangerous trips and travels, and after all, this is an important quality he would like to see in his future wife. However, Lisa is not so simple: she rushes headlong into an adventure and shows courage, determination and ingenuity, and Jeff’s bored and mundane look at her is replaced by admiration. In this perspective, the ending of the film looks very funny, where the main character, after all the worries and experiences, reads a book about travel and, when her man falls asleep, quietly reaches and begins to leaf through a women's magazine. A real woman! It was in this film that I discovered the stunningly beautiful Grace Kelly - the ideal of female beauty, and the unflappable James Stewart composed a beautiful duet for her.
The Backyard Window is a film that is often quoted and mentioned in cinema in general, which speaks to its great cultural value. I can’t count how many times I heard about him in different movies and TV shows and didn’t understand what it was about before watching, and how pleasant it was to be in the topic after watching. For me, “Rear Window” is a beautiful example of old Hollywood with a charming and courageous main character and a chic main character, as well as an intriguing plot and a tense atmosphere. Be sure to check it out!