🎦 Rear Window full movie HD download (Alfred Hitchcock) - Crime, Thriller, Mystery, Romance. 🎬
Rear Window
Crime, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
James Stewart as L. B. 'Jeff' Jefferies
Grace Kelly as Lisa Carol Fremont
Wendell Corey as Det. Lt. Thomas J. Doyle
Thelma Ritter as Stella
Raymond Burr as Lars Thorwald
Judith Evelyn as Miss Lonelyhearts
Ross Bagdasarian as Songwriter
Georgine Darcy as Miss Torso
Sara Berner as Wife living above Thorwalds
Frank Cady as Husband living above Thorwalds
Jesslyn Fax as Sculpting neighbor with hearing aid
Rand Harper as Newlywed man
Irene Winston as Mrs. Anna Thorwald
Havis Davenport as Newlywed woman
Storyline: Professional photographer L.B. "Jeff" Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. He begins to suspect that a man across the courtyard may have murdered his wife. Jeff enlists the help of his high society fashion-consultant girlfriend Lisa Freemont and his visiting nurse Stella to investigate.
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Hated the ending

This movie could have been about a 9 but they built it all up to the most stupid and predictable ending ever!

Where was the twist?

What was the message? Just because you are paranoid doesn't mean your neighbors aren't trying to kill you...? Really disappointing.

Hitchcock had it primed to deliver a powerful ending with Stewart's paranoia either destroying his own life (getting his girlfriend jailed, his best friend fired, and losing his own mind) and/or destroying his neighbor's life for no reason (getting him arrested for murder even though his wife was still alive, or killing him/suicide out of fear).

The era this film was made demanded a much more wholesome ending. As a result we were forced to accept that despite all logic and evidence to the contrary, the paranoid crackpot murder theory of a shut-in depressed photographer was dead right from the beginning.

This film should be remade with a much more intelligent and thought provoking ending.
The First Person
Actually, this is the second movie Alfred Hitchcock that I just watched and his status as king of the cameo is not to be denied again. If Psycho is a movie with a really cool plot twist, "Rear Window" is a movie that takes only the first person's perspective. "Rear Window" is the film that brought Alfred Hitchcock won the Oscar nomination for the fifth time in the category of "Best Director". The film also received a nomination for "Best Screenplay" composed by John Michael Hayes.

"Rear Window" is a film that has its own uniqueness that takes the first person's point of view as if the audience got carried away and involved in the film. "Rear Window," tells the story of a professional photographer named L.B. Jefferies (James Stewart) just had an accident during an auto race that broke his leg and forced Jefferey to stay in a wheelchair. A sense of boredom has become something every day is felt, let alone he can only meet with the nurse, Stella (Thelma Ritter) and Lisa (Grace Kelly), who is her lover. Not much Jeff could do except to watch the neighbors' activities from behind the window was an amusement for him. Initially, it was just for fun until finally, Jeff felt there was something suspicious from one of his neighbors. Finally, the activity went too far and started dangerously.

As I said earlier, "Rear Window" is a movie that invites the audience as if to take part in this movie. Hitchcock uses the first person through binoculars as if the viewer directly sees the incident. Hitchcock is very observant in exploiting the narrow space and viewpoint of the first person to build the tension of the audience. It is the most exciting and terrifying thing is when we can only see without being able to do something. In Rear Window, Hitchcock is able to break the boundary that separates the audience from the movie being viewed. Many of the suspense films that made me stunned, but the new Rear Window that can make me feel so helpless and unconsciously want to be able to interfere in the story.

"Rear Window" has a slightly slower plot so that at the beginning of the 20th minute it has made people feel bored and tired. A complete character recognition as well as relationships with people in particular. Here we begin to be invited to think about the truth behind Jeff's suspicions. Is he right or wrong? But, all that is forgotten either wrong or true. The climax is so tense, and appear worried at the characters.

Hitchcock always succeeded in creating iconic moments in every movie. One of them is when Mr. Thorwald was right at the camera until it looked as if he was looking directly at us as a spectator. "Rear Window" is an incredible stage of tension in which the initial phase becomes a very slow introduction to full tension.
Classic Hitchcock from a unique perspective
With the acting talent of two of Alfred Hitchcock's favourite actors, Jimmy Stewart and Grace Kelly, and a strong supporting cast of Thelma Ritter, Wendell Corey, and Raymond Burr, we have the ingredients of a great movie. However, this movie is much more than the sum of its stars since the directing genius of Hitchcock is more than evident in this film, which is in the top tier of his work. The movie takes place on a small set; in fact, the action takes place in a bachelor apartment with cutaways to other apartments on the opposite side of a courtyard. The location is in a downtown neighbourhood of Manhattan.

The viewer sees much of the action through the telephoto lens of Jimmy Stewart (known as Jeff to his friends), who is a photographer sidelined by an accident. He takes to watching the antics of his neighbours in his spare time. The comic and the sad come together as the camera pans from one apartment to another. The neighbour he is mainly interested in is the apartment of one Lars Thorwald, played by Raymond Burr, who Jeff believes has killed his wife. Thorwald thinks he is acting without the knowledge of anyone but in fact, there is an intruder looking on from the other side of the courtyard, through his rear window.

Raymond Burr gives a convincing portrayal of the sinister Mr. Thorwald – a far cry from the suave, courtly lawyer known on T.V. as Perry Mason. Grace Kelly, as Lisa Carol Freemont, enhances the look of this movie every time she walks on the set. In every scene, she appears like a model from the 1950's. I didn't count the number of costume changes she made but they must have been numerous and she made the most of each one. She is a class act every time she appears and plays the role of the uptown Manhattan girl to a tee. The close-ups of her are eye candy of the first order. In fact, Jimmy Stewart hesitates to marry her because as he says, "she's too perfect". Thelma Ritter (Stella) as the housebound photographer's nurse/masseuse/housekeeper is an absolute marvel with her quick repartee and New York twang to give it that extra zing. During her career, she was nominated for several Academy Awards and is a rich talent. Stella is almost a surrogate mother to Jimmy Stewart, playing the devil's advocate and giving her own two cents'worth on the love match between Lisa and Jeff, particularly Jeff's reluctance to wed.

The plot moves toward the climax when Thorwald realizes he is being stalked and after Jeff finally enlists the support of his buddy Det. Doyle (Wendell Corey). The voyeur's interest in his neighbours leads to some skilled speculation by Jeff that could at any point have been blown away by a logical explanation, as Doyle was suggesting. But the evidence kept mounting and became more and more difficult to ignore.

Some hands-on detective work by Lisa and Stella moves the story towards its climax. This classic movie will hold your interest from its amusing start to goose-bump finish. Along the way, there is a fine script and lots of wit.
Excellent. Sharp, clever, funny, inventive, with great values all round.
Ah it's a movie that's in IMDB's Top 20, and it has good reason to be. For starter's let's look at the simple premise - James Stewart is L. B. Jeffries, a photographer who is currently recovering from an injury on assignment. With his broken leg he's stuck in his apartment, with nothing better to do than spy on his neighbours and be visited by his girlfriend, Lisa Carol Fremont (Grace Kelly), his officer friend Wendell, and his nurse, Stella. Jeffries observes the coming and goings of the various apartments he can observe (from his rear apartment window) and it is one of these - a Raymond Burr - who draws his attention because. could it be that the man has committed some heinous crime? Let's find out.

One of the beautiful things about the movie is its superb use of location. The whole movie, bar a couple of brief scenes, is set in the apartment. This would seem claustrophobic but Hitchcock never inhibits us like this - he lets us escape through Jeffries binoculars and camera lenses, and his roving camera swoops down to let us see what the characters see (but never, thankfully, anything more than that - this is how you do suspense!). The set design is wonderful - the apartment is just the right size and is nicely laid out. However the real praise is for all the other apartments visible to Jeffries - an actual habitable set with multiple stories where characters can be observed only as they pass by their own windows (yeah, they don't care much for curtains). There's a sense of individuality gone in to each home, despite the fact we can only see barely elements of each. This is helped by a nice, differing range of characters inhabiting each and going about their daily lives - there's a mini soap-opera contained in the movie, all observed at a distance. Excellent stuff.

Acting? It's great here. There's some nice depth to the characters here, with them feeling like actual real people rather than slick one-dimensional tags. Stewart is very proficient in this type of role - he was born to it - and Kelly proves she is more than just a pretty face, managing to effuse her character with both grace (*groan*) and steel. Even supporting characters like Stella are good (she has a wickedly black sense of thinking that's hilarious). What's so incredible is that the characters we observe from a distance in the other apartments (and with whom we never actually interact with) have as much depth as most main characters in movies nowadays. Excellent script and acting in this movie.

I've already praised Hitchcock's set location and camera work, so I won't prattle on about him much more. He does a stellar job here and, in my opinion, this is the best piece of work he's done (that I've seen). It's virtually flawless and you're never let down (or bored). Well done. It's a shame he lost out on an Oscar (although he did have tough competition that year with `On the Waterfront').

`Rear Window' is a great example of how you can successfully have sharp acting, script, and directing and not feel the need for a slew of swear words and gratuitous violence. Regarded as a classic, and deservedly so. 9.1/10
An Allegorical Tale Of 50's McCarthyism
Hitchcock's masterpiece 'Rear Window'is a poignant example of how film can truly reflect a society and its questionable values. I think that for a modern viewer Hitchcock, through such films as 'The Birds'and 'Psycho' has attained a mythic quality of artisan beauty within cinematic dramas that analyse the social fabric of society.

When watching 'Rear Window', I was amazed at the allegorical depths that can be read through this amazing film. 'Rear Window' although in narrative, primarily focuses on the murder of Mrs Thorwald I believe the most socially conscious message discerned comes from the questionable investigate processes of vigilante L. B Jefferies. I think Hitchcock develops into a cinematic genius when one reads these questionable detective processes as an allegory for nineteen fifties McCarthyism. One could discern that Hitchcock has created 'Rear Window' as a monument to this oppressive period in American History and through the ineffectual Detective Doyle the last remnants of morality . I believe Hitchcock could be seen through Jefferies as utilising the camera (both on and off screen) as an ambiguous weapon against crime. However, it is the way we perceive Hitchcock's weapon against 'crime'; as either anti-voyeurism or anti-murder that will develop what message is received.
Disenchanted with Hitchcock
I watched "Rear Window" again last night. Seeing it again only serves to confirm this growing sense I've had for quite a while. It's the feeling that, actually, for all his innovation, Hitchcock, by today's standards was a sloppy, inattentive, rigid and formulaic director. His movies cause me more annoyance than anything else.

The egregious and prolific cinematic "goofs" in this movie are beautifully itemized elsewhere on this site. It was the same sort of embarrassing inattentiveness in "North by Northwest", "The Birds" and many other Hitchcock movies. He would miss little details from scene to scene which are much less frequent in movies directed by today's top-tier counterparts.

Hitchcock's well-known abhorrence for outdoor shots resulted in the creation of painfully artificial indoor sets - to the point of looking rank amateur.

I'm sure he thought his camera angles at critical moments of his movies contributed to the dramatic intensity of the scene: the camera looking down into the shower in "Psycho", the camera looking down again at Stewart as he is approached by Raymond Burr - it gets repeated in several movies. By today's standards, frankly, the shots are rigid, routine, predictable and boring.

Hitchcock's principal actors are interesting which, I suppose, is why he used them again and again. But many of the other relatively minor characters in his movies are wooden, silent, under-developed and under-utilized to the point of being quite dispensable. They are nothing more than interchangeable props: the two thugs in "North by Northwest" for example or the honeymooners in "Rear Window" illustrate my point.

Nope, I've made-up my mind on this: compared to a Spielberg or Ron Howard, Hitchcock, for all of the praise he has received comes across to me as a so-so director who really didn't have the eye for detail and precision required of directors today and expected by their more technically sophisticated audiences.
One of the Most Thrilling Films Hitchcock Ever Directed
I saw this last night on AMC and was blown away by the plot, the characterization, the setting, and of course, the suspense. I am a huge Hitchcock fan, some of my favorites being "North by Northwest," "Psycho," "Lifeboat," and now this.

L.B. Jefferies, known as Jeff by his friends, is wheelchair-bound in his Manhattan apartment, dealing with a broken leg. With nothing else to do but look out the window, he takes to watching the lives of his neighbors around the center courtyard: the struggling musician, Miss Torso, the dancer, the eccentric couple with the curious dog, the newlyweds, Miss Lonelyheart, and of course, the Thorwalds, right across the way. Lars Thorwald and his bed-ridden wife become Jeff's focal characters to observe...until Mrs. Thorwald disappears, and Lars becomes progressively suspicious. He quickly involves his uptown girlfriend, Lisa (Grace Kelly) who opts to do some investigation, and then involves his nurse, Stella (Thelma Ritter). Helpless in his apartment, he works through them and the moderate help from his friend, Doyle (Wendell Corey), a detective. Questions continue to arise, and Jeff, Lisa, Stella, and Doyle seem to be coming to a conclusion. Yet, this is Hitchcock, and our team of protagonists aren't close to just solving the case and moving on. Oh no, the last twenty minutes or so prove to unbearably suspenseful as Lisa investigates the Thornwald's apartment while it's unoccupied, and Jeff and Stella watch helplessly as Lars comes home....

This truly is an amazing film. James Stewart and Grace Kelly give amazing performances, and Thelma Ritter is wonderful as the witty nurse. The vignettes on the lives of each of Jeff's neighbors are all quite interesting, and I found Miss Lonelyheart's story in particular to be absolutely wonderful. I also loved how Jeff was helpless, while the two women were off doing what one would think to be the man's role in the movie. Lisa, particular, is quite an innovative character. First of all, she's very funny. I love when Jeff is telling her the rough aspects of a traveling photographers life, and how when he asks her something in the way if she had ever been 5000 feet up, struggling to stay warm in twenty below zero weather, and she replies, "Well, when I get a few minutes after lunch...." She also takes that role of the elegant uptown girl and admits her sophistication and perfection, like when Jeff comments on how she never wears the same dress twice, and Lisa notes light-heartedly, "Only because it's expected of her [me]." And then, when she takes all those risks to uncover the truth in the end. Not only could I not sit still, I was so scared (which is rare for me with most horror movies) but I was amazed at how she proved that she wasn't afraid to risk anything. Now, that's one hell of a heroine, and perhaps the greatest Hitchcock woman ever.

I also loved Stella. She had some of the greatest lines in the movie, and I love when she's commenting to Lisa and Jeff on the probable gory details of Lars's act. She was definitely memorable with all her witty lines, and had me laughing many times.

And of course, James Stewart gave a great performance, conveying that feeling of helplessness, and near claustrophobia being in that apartment, unable to do anything, and just as he's safe in his apartment watching everyone, he goes through hell trying to figure out what to do when Lars comes home while Lisa is still at his apartment.

The movie is enthralling from the amazing opening to the wonderful epilogue, and the title music totally sets the scene for some fun. I recommend this movie to anyone, it is an amazing film.

Hitchcock's Classy Voyeurism Thriller...
One of the joys of Alfred Hitchcock films is his ability to take social taboos, present them in an enticing context, throw in major stars we know and respect to perform them, and thus make abhorrent behavior seem attractive! 'Vertigo' is the best-known example of this Hitchcock trait ('Psycho' also comes to mind), but 'Rear Window' is arguably the most fun to watch, because of the appealing combination of James Stewart and Grace Kelly.

Stewart is a photographer, laid-up while recuperating from an accident (cleverly shown through photographs in his studio), who, out of boredom, begins spying on his neighbors through binoculars. Virtuous Jimmy Stewart a 'Peeping Tom'? Only Hitchcock could get away with this!

Of course, Kelly, as his high fashion model girlfriend, and Thelma Ritter (who is fabulous as his nurse), are appalled by Stewart's behavior, but are drawn into voyeurism by Stewart's devotion to it, particularly after he witnesses an apparent murder (committed by Raymond Burr, in one of the most wonderfully EVIL roles of his career).

The film takes on a cat-and-mouse intensity, as Stewart attempts to prove Burr's guilt to his skeptical policeman buddy (nicely played by Wendell Corey). To add a touch of sexual foreplay to the proceedings, Kelly models a variety of '50s evening and nightwear, while teasing the injury-constrained Stewart ("Previews of Coming Attractions", she purrs). All this leads up to a fabulous, claustrophobic finale, with camera flashes, and a twist ending that is pure Hitchcock magic.

If you haven't seen 'Rear Window', run, do not walk to your video store, and rent it! You'll quickly discover why it is one of Alfred Hitchcock's most popular films!

Why is this movie considered so great? The people that praise it are hoity-toity pretentious "film buffs". I thought the acting was great, and the cinematography was excellent, but I was not on the edge of my seat at all during this film. It was not suspenseful, as I could tell what was going to happen, and I never felt worried about any of the characters because I could tell they would be saved in one way or another.
Did I miss something?
I had heard a lot about this film so was really looking forward to seeing it. I watched it in the company of my wife and her sister and at the end all three of us felt the same about it as my review below. I found it a huge disappointment - it trundled along at a slow pace and I kept waiting for something to happen which would be thrilling or suspenseful etc - typically Hitchcock. I am still waiting. I kept wondering, if someone is a professional photographer with a massive telephoto lens at his disposal, why did he not take any photographs. Isn't that what voyeurs do? Also, could someone tell me the purpose of the back massages - I am no masseuse but there seemed to be no rhyme or reason to them. This movie was a horrible waste of my time.
📹 Rear Window full movie HD download 1954 - James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady, Jesslyn Fax, Rand Harper, Irene Winston, Havis Davenport, Marla English - USA. 📀