Big movie from HitchcockThe film is set in two rooms and the open space between them. In one, a photojournalist is crippled by an accident, in the other, a murder is being prepared, and he follows the progress, trying to prevent it with the help of his hot blonde lover, Panagia. Grace Kelly.
Among the massive and glorious masterpieces that Alfred Hitchcock signed in his Art Color period Basic It is difficult to single out anyone as superior – although a superior president has been voted in, and may meet all the theoretical and aesthetic requirements, Rotary Notary.
Very close to second place silent witness Which, in addition to being a stylish work of suspense and multi-issue drama, proved to be entertaining to the general public, as evidenced by the $37(!) million in receipts against the cost.
Technically this is a remarkable achievement, thanks to the atmospheric jazz music that accompanies it. Franz Waxman Nominated for Academy Awards for Cinematography and Sound, as well as for directing and adapting the classic short story. It must be murder.What we must learn: that the event occupies a main room, that of the confined photojournalist, who is forced to remain in his apartment after an accident, and in what the camera sees in its narrow scope, which is compatible with the limited vision provided by the open window.
For more sophisticated analysts, the class patriarchy of a tight-knit society and the voyeur who is almost punished, and certainly prosecuted, for the sin of peering into the lives of others uninvited provide fodder for theories and explanations.
The visits of a moving fiancée (Grace Kelly, a ghost about to flee to the principality of Monaco) and a cynical housekeeper (the eternally charismatic Thelma Ritter) are little compared to his inaction, amid the heat and sense of his own futility. He kills his boredom by glancing across the street at the apartments of the apartment building that separates his from his own.
But time is the invisible protagonist. silent witnessWhich is why Hitchcock packed the watch into his traditional short cameo. When he hired him, Sh. B. He stumbles upon a murder orchestrated by his husband, and must catch him before it’s too late, not only for him but also for his beloved partner. For viewers, Rear Window’s innocent bystander and reluctant hero remains a powerful entertainment for all ages, a full seventy years after it first aired.
His only joy is to catch the eye with his lens across the street, watching the rooms of the apartment building as if they were boxes of separate stories, that is, as if they were television channels, and with the telephoto lens, in other words, the remote control. Control, he rushes into the episodes, into narrative contents.
For more sophisticated analysts, the class patriarchy of a tight-knit society and the voyeur who is almost punished, and certainly prosecuted, for the sin of peering into the lives of others uninvited provide fodder for theories and explanations.
The most famous of all is the opinion of researcher Hitchcock, director and pioneer of the new mystery. Francois Truffaut, Who wrote that in this particular parable, the common courtyard is the world, the photojournalist is the cinematographer, his perspectives the camera and the director’s lenses. However, the obvious cinematic allegory can, with good intentions and a little imagination, extend into a deeper and more personal statement of the film’s creator.
Grace Kelly, a ghost about to escape to the Principality of Monaco
In 1953 and 1954, when The Silent Martyr was filmed, television had already arrived as a pioneer with its popular daily soap operas and weekly prime-time shows. comedy series Cinema had to react with tricks to survive, from CinemaScope to 3D and lots of campaigning. The photographer, played by Stewart in the film, freezes in an accident, or lies down or slowly crawls into the cast, and not even the sexy Grace wakes him up with hot hugs and ethereal looks from the costume designer. Edith Head.
His only joy is to catch the eye with his lens across the street, watching the rooms of the apartment building as if they were boxes of separate stories, that is, as if they were television channels, and with the telephoto lens, in other words, the remote control. Control, he rushes into episodes, into narrative contents. And in order to take revenge on the medium that focuses only on him, he turns it into murder, that is, he reinterprets the fragmented viewing into a deadly habit that even threatens your life if you face it face to face, as Stewart accidentally fell upon the angry gaze of Raymond Burr!
Geniuses. If Hitchcock did it unconsciously, it’s a testament to his immense talent. If it was premeditated and vengeful, it’s even better!
“Rear Window” hits theaters this summer starting Thursday, 4/7.
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