7/27/2019 Rear Window Response.docx

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Ariel Chen (ac47386)

RTF 314

Extra Credit 3/26/13

Rear WindowResponse

Most of Hitchcocks films seem to fall under the broad categories of horror/thriller/suspense, the

sort of film Ive never felt much strong affinity towards. Perhaps Im just an extremely faint -hearted

individual. After a brief look at the premise of each of the movie choices, Rear Windowinterested me

the most, with voyeurism the key word that seemingly crops up the most in regard to this film. (This isnot to suggest I have voyeuristic tendenciesit probably is the opposite of that, in fact, as I am

generally hyper-aware and self-conscious about intruding upon the privacy of others, whether they are

mindful of it or not. It isnt even a matter of me striving to be morally upright; the act simply makes me

uncomfortable. So the subject matter intrigued me.)

All in all, I greatly enjoyed Rear Window. Far more than I thought I would when I began

watching. Hitchcocks reputation is definitely deserved, as he uses a great deal of unusual techniques

and finesse to tell a story that draws you on throughout, despite its simplicity. The opening scenes

clearly and succinctly fills the audience in on Jeffries situation through panning through telling objects

(his smashed camera, for example) and framed photographs, as well as through a phone call from

Jeffries boss. Then we are shown various neighbors whom Jeff observes, and we see from his point ofview. We are shown precisely what Jeff sees, from the same distance and with the same amount of

sound he is able to hear from his window. Most of the movie is revealed to us in this way; we are very

rarely shown anything Jeff is not able to notice. (There is one exception to this that greatly stood out to

me: a extremely brief scene featuring Thorwald where it is bookended by shots of Jeff asleep.)

I was particularly struck in the beginning by the conversation between Jeff and his nurse, Stella.

The dialogue was quick, snappy, and clever, but the subject matter was also of interest: Jeff and Stella

discuss Lisa and why Jeff is reluctant to marry her in the future. The differences between men and

women are very often highlighted and focused on in Hitchcock s films. Jeff is over-analytical and puts

great stock in intellect and logic, and tries to apply to his and Lisas relationship. Stella advises him

against it. Marriage is generally painted in a negative light in this film as a whole, as marital problems

are what presumably led Thorwald to murder his wife, and the newly married couple go from being

passionately in love to bickering at the closing of the film.

Rather strikingly in this film, the man is generally rather passive, content to let things stay the

way they are (Jeff even outright states his desire for things to remain like the status quo in regards to

his relationship) and to observe happenings while the woman is generally proactive, both in terms of

thinking of the future and investigating the suspected crime. Lisa Fremont is an interesting character

who is likely of higher social class than Jeff and better off financially and thoroughly devoted to him.

Even though she is at first wary of Jeffs spying, she gets sucked into his obsession as well and actively

goes out to try to find the truth. However, the story still firmly revolves around the man, as the final

climactic confrontation is between Mr. Thorwald and Jeff, who is confined to his chair. Gender roles are

still firmly in place, with women being shown as care-givers and a big fuss made over womens

intuition. Stella repeatedly chides Jeff for his over-analyzing, and she and Lisa sort of become

extensions of Jeff that are able to run around and help him with solving the mystery he has become

obsessive about. An important piece to the mystery was the supposed importance women placed on

beauty and possessions (Mrs. Thorwald leaving her handbag). Women played important parts in the

film but gender roles of society were enforced.