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If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

An old-fashioned movie made with new-fashioned finesse.

I must say, no signs of aging. Embedded in its day and yet totally relevant. Perhaps the most entertaining of all of Hitchcock's films. Marriage is the theme and murder is the hook. James Stewart is as perfect as he's ever been. He uses the contradictions of his character to create someone immediately familiar. Thelma Ritter's practicality includes a rant about the destructive effect of intelligence. Grace Kelly enters the scene like a character in a dream. She remains a sort of dream that's why to see her climb the killer's balcony is one of my most cherished film memories. If you haven't seen the film you may think I'm rambling but if you have, you know exactly what I mean, don't you?

Rear window is such a unique and interesting movie. It is one that almost stands alone in its plot and camera angles and things of that sort. During the first twenty to thirty minutes of this movie it was almost extremely boring and I kept constantly asking myself the same question over and over again, which is "are they really going to keep the camera in this one room for the whole movie?" I kept on telling myself that the camera would probably move sometime soon and they would change scenery sometime soon, but that time just never came. Throughout the film it took sometime for me to actually accept the new movie style that Hitchcock portrays in this film. During this film I went through almost 3 different stages of interest. The first stage consisted mostly of confusion and trying to figure out what was going on as they were introducing the different characters and scenarios. It was a very new movie feel for me so it took time to get used to. The second phase for me was unfortunately boredom, as I couldn't really engage into what was being played out in the different apartments. It wasn't until the end of the movie, about the time when the dog is found dead with its neck snapped that I really started to enjoy and became engaged in the film. The ending was very engaging and was extremely well done. It created an excellent sense of tension and suspense that I think engages every single viewer. During the whole process of watching the movie I can't really say I enjoyed it at all but once I looked back on it and realized the different cinematic elements and styles I came to appreciate it and understand it more. I definitely have a strong bias here because I was born into a generation of such great quality cameras and such good editing and animation. For this reason it can be really hard for me to engage in older movies of this style. Nonetheless this movie was very interesting to look back on and see how Hitchcock portrayed the characters in such an interesting way. It was so different and cool to basically see people as non-actors but just as every day people. You really get a sense of this when the movie is portraying someone in their everyday life without them supposedly knowing that they are being watched. You see the pureness of every shot. This film really enacts a different feeling in the viewer, as it is something were really not used to seeing. Overall I cant really say that I enjoyed this movie to much as I found it slightly boring and un-engaging. There are many great cinematic elements that make it very different and interesting. The whole stationary camera sense was just two different for me and I was able to really appreciate and enjoy the movie very much.

Alfred Hitchcock's Rear Window is a fantastic example of his ingenuity and vision when creating films. While of course this movie has a great story with meaningful dialogue, the way Hitchcock tells the story is what truly is impressive. The movie starts with a panning shot around the main character's apartment, which reveals that he is a photographer who has broken his leg and is now wheelchair bound. Because of this the entire movie is shot from the perspective of the apartment. The camera never leaves. As a result, many important film techniques were necessary to create a complex story with multiple characters only looking from one spot. Hitchcock is restricted to using only a few camera angles because the entire movie is shot from in perspective, for example eye-level for shots in the apartment, and then long shots and a few close-ups for things outside the apartment. But even with so few types of camera angles, Hitchcock uses the camera angles to advance the story. For example, every shot from the apartment is a long shot in the beginning, the same way anyone in the apartment would see. These long shots show the basis of what is happening in the scene, but it is difficult to see the details from this angle. but when the main character grabs a pair of binoculars to investigate further, a close is used, showing the viewer exactly what the character would see, and giving them the same amount of detail. Another technical piece of film that Hitchcock incorporates into the story is the use of light and dark. Early in the film the main character is spying on his suspicious neighbor, and he realizes he can be seen through his window, so he backs into his unlit apartment to stay hidden. This action of hiding in the dark is repeated throughout the film, until the neighbor eventually notices him and make's it to the apartment. Since the main character is crippled, he obviously can't fight. So, he uses the light and dark to his advantage. He turns all the lights off and uses flash bulbs to blind his attacker. Hitchcock uses light and dark as a weapon for the main character, as it's the only way he can defend himself with his condition. While Hitchcock uses camera tricks to create suspense and intrigue in the film, he mostly uses mise en scene to carefully create every scene and put everything exactly where it should be to perfectly tell the story. Many of the "mysteries" created in the film are crated purely out of the perspective of the main characters. For example, the suspicious neighbor is yelling at his wife, but the shade is down in their window, so neither the characters or the viewers know what's really going on. Or when the neighbor moves his wife's purse form the bedroom to another room, a wall perfectly blocks the neighbor from the main characters point of view. Every object in each scene, and every wall or blockage of something is carefully planned out by Hitchcock to create a sense of suspense and mystery, while just sitting in one spot, away from all the action. Hitchcock's Rear Window is truly a test of his creativity when directing a film. To be able to tell an interesting and well written story from the perspective of one person who doesn't move the whole movie really shows how good of a director Alfred Hitchcock is. He perfectly incorporates many technical pieces of film such as specific camera angles, right, and placement of subjects within a scene for giving the viewer a similar perspective to the main character, and creating an interesting and well-developed world just from the view of one rear window

I must admit, I was skeptical at first about Hitchcock's suspense thriller "Rear Window." It's just another older film with the same murder-mystery plot to it where the protagonist sees a murder, has a relationship with some woman from the police academy, then gets in a final showdown with the main antagonist. They arrest the antagonist, and everyone goes on their merry way.Boy was I caught off guard by how well this movie was made. Taking place in 1950s New York City, it had a very nostalgic feeling in the introduction. Using Hitchcock's signature opening style, we glimpse into the life of a recently handicapped photographer who looks out his window and observes his neighborhood. This was unlike any other movie I have ever seen, in that the movie only has about four or five viewpoints: Jeff's view, looking into Jeff's room, looking out Jeff's window from farther back in his room, and through the magnified lenses to name most of them.Contrary to my original belief that a film needs to be fluid with its location, "Rear Window" completely changed my opinion on the matter. The focus on the minor characters was also very impressive. Each minor character, although not interactive, these characters let us peer into the life and blood of the courtyard where Jeff lives. A scream and sob in the night, and the dog is dead. Why did this have to happen? I mean it added a whole new level of seriousness to the film, but why the cute innocent dog? This is actually a very good decision on their part but it probably hurt me more than it hurt the dog's owners. I hate it when animals die.Going off of that, most action occurs in the dark. This is immaculate use of mise-en-scène; it gives the scene a much more serious undertone. If the action took place during the day, then the scenes would not be as effective. Miss Lonelyhearts is a sad woman who lives in the bottom of Jeff's courtyard. She has been struggling romantically, as portrayed by the mise-en-scène of her apartment. The apartment gives off the vibe that it is full of things yet still missing something. This is truly apparent when she is sitting and eating dinner by herself and sobbing.Jeff's musical neighbor that lives in the studio apartment always has a party. The composer that lives there loves his piano, and actually plays a significant part in the plot by getting Miss Lonelyheart's attention.The only area that I feel that this film falls short is in some of the character development.Why does Lisa think it's a good idea to go into the murderer's apartment? I mean, sure she got the ring, but this was probably the one of the stupidest decisions I've ever seen made by a director in a live action film. Second only to the decision made by Rian Johnson, the director of Disney's "Star Wars: The Last Jedi," to have Princess Leia suddenly become force sensitive and use the force to re-enter the rebel ship. I guess Lisa had to do something like "make a daring attempt to retrieve the wedding ring of Mrs. Thorwald (and succeed) that may or may not even be in the murderer's apartment" to move the plot forward. The other question about the film has got to be, "why does the ballet dancer even exist in the script?" The only reason I can see for her being written into the script is to draw attention to the outside world. In the word's of Alfred Hitchcock himself, "I'll bet you that nine out of ten people, if they see a woman across the courtyard undressing for bed...will stay and look."All in all, this film is a great watch. I recommend it to all Hitchcock fans everywhere!