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One of the greatest cinematic dream teams of all-time collaborated for the second occasion on Rear Window as the Master of Suspense directed the original everyman. Alfred Hitchcock and James "Jimmy" Stewart deliver a chef d'oeuvre out of a premise that could have been so hit or miss - a professional action-man photographer living a forced domesticated life because of a broken leg, spying on his puzzling neighbours. It doesn't seem the most attractive foundation for a classic but Hitch puts the stunning success of the film beyond any doubt as a raw and engaging mystery, reminiscent of an arthouse film, plays out from the first scene. Add the unashamedly beautiful Grace Kelly to the mix as Hitchcock's premier blonde and L.B. "Jeff" Jefferies' (Stewart) girlfriend Lisa, and you have 112 minutes of sheer quality with three stars - the stubborn London-born auteur, the Pennsylvanian soon-to-be Princess of Monaco, and the Brigadier General whose persona oozed A-List credentials - creating an enduring spectacle.
Hitchcock presents us with characters Jeff aptly names Miss Lonelyheart and Miss Torso, in addition to a rampant newlywed couple and a pair who sleep outside because of the intolerable heat. Raymond Burr's Lars Thorwald is the main subject of Jeff's gaze though as boredom and paranoia take hold of his daily spying ritual out of his rear window. In between trying to hush the advances of his perfect girlfriend who wants to settle down, and the constant interference from Nurse Stella, played exquisitely by Thelma Ritter, Jeff is desperate to solve the inscrutability of his salesman neighbour. Where has Thorwald's wife disappeared to? Where does he go at unsociable hours of the day? The audience shares the misery of Jeff, Lisa and Stella at not knowing the answers until the outstanding climax and the inevitable confrontation between good and evil. Indeed, their constant conversations about the events of the apartment block shadow our own thoughts about the unknown goings-on, and this is an unusual technique included very effectively by the legendary director. One must also remember that we are simply not limited to a whodunit thriller with obsession, curiosity and voyeurism predominantly showcased, but this is also a uniquely humorous tale taking a treasured glance at a relationship between two marvellous lead performances. Hitchcock delivers a truly unforgettable and faultless piece of filmmaking which continues to exercise its prominence in the modern age, decades after the film's studio era heyday.
The extras
I firstly have to say that the picture quality is excellent for a 1950s film. Obviously a skilled restoration team has been at work and the impressive "Making Of: Rear Window Ethics - Remembering and Restoring a Hitchcock Classic" documentary is all about the film and the renovation process. The 55 minute featurette includes audio excerpts from Hitch and a huge overabundance almost of contributions ranging from the director's daughter to art directors to restorers. This is an excellent look filled with amusing anecdotes suitable for any DVD fan. Like the "Making Of", the "Featurette" is also available with or without subtitles and is a decent 13 minutes of entertainment. For what it is however, it's just a concise and diminutive interview with the writer. The 46 stills in the "Art Gallery" are a good addition for lovers of the film, and the "Trailer Compilation" of five of Hitchcock's classics that were released in the 1980s, with the assemblage narrated by Stewart, is worthwhile. A 1960s trailer rounds of the decent package. Unfortunately the disc contains no commentary by a film historian, scholar or surviving star, but aside from that omission, the material included is worthwhile.
The summary
A stupendous work of genius from The Master of Suspense. If you care for films, you will inevitably adore the engrossing tale of a wheelchair-bound photographer, his voyeuristic habits and his stunning girlfriend. Rear Window is a totally mesmerising exhibition of outstanding ability which everyone should witness.
