The Back Window is the 1954 American Technicolor mystery thriller directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrich's 1942 short story "It Had to Be Murder". Originally released by Paramount Pictures, movie stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. It was screened at the 1954 Venice Film Festival.
The film is considered by many movie viewers, critics, and scholars to become one of the best Hitchcock movies and one of the greatest movies ever made. It received four Academy Award nominations and was ranked number 42 on AFI 100 Years... 100 movie listings and number 48 in the 10th anniversary edition, and in 1997 added to the US National Film Registry at the Library of Congress as "Culturally, historically , or aesthetically pleasing ".
Video Rear Window
Plot
Recovering from a broken-footed, professional adventure photographer, Jeff LB Jefferies (Stewart) was confined to a wheelchair in his Greenwich Village apartment, his rear window was visible on the lawn and several other apartments.While a strong heat wave, he watched his neighbor, who keeping their windows open to keep it cool.
He observes a flamboyant dancer nicknamed "Miss Torso"; a middle-aged woman she calls "Miss Lonelyhearts"; a talented pianist, bachelor, middle-aged; some married couples; a sculptor; and Lars Thorwald (Burr), a traveling jeweler with a wife bedridden.
Jeff's beautiful and sophisticated socialite girlfriend, Lisa Fremont (Grace Kelly), visits her regularly, as well as her insurance company nurse, Stella (Thelma Ritter). Stella wants Jeff to settle down and marry Lisa, but Jeff is reluctant.
One night during a lightning storm, Jeff heard a woman shout, "No!" and then the sound of broken glass. Later, he was awakened by thunder and watched Thorwald leave his apartment. Thorwald repeatedly made night trips carrying bags for example. The next morning, Jeff notices that Thorwald's wife is missing, and then sees Thorwald cleaning a large knife and a whipsaw. Later, Thorwald tied a large rod with a heavy rope and people moving away from it. Jeff discusses all this with Lisa and Stella.
Jeff became convinced that Thorwald had killed his wife. Jeff explained this to his friend Tom Doyle (Wendell Corey), a New York City Police detective, and asked him to do some research. Doyle did not find anything suspicious; Apparently, Mrs. Thorwald is the northern part, and takes its own luggage.
Soon after, the neighbor's dog was found dead, his neck was broken. The owner shouted in the yard, "You do not know the meaning of the word 'neighbor'! Neighbors love each other, talking to each other, caring whether anyone is alive or dead! All the neighbors ran to their windows to see what was going on, except for Thorwald, whose cigar could look glowing as he sat quietly in his darkened apartment.
Certain that Thorwald was also guilty of killing the dog, Jeff asked Lisa to slip an accusing note under her door, so Jeff could see her reaction when she read it. Then, as a pretext for removing Thorwald from his apartment, Jeff called him and arranged a meeting at a bar. He was sure Thorwald buried something burdensome in the yard of flower beds, and killed the dog to stop him digging there, so when Thorwald left, Lisa and Stella dug the flowers; they found nothing.
Much to Jeff's admiration and admiration, Lisa then climbed the fire stairs to Thorwald's apartment and climbed in through the open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who come in time to rescue her by catching her. Jeff saw Lisa having her hands behind her back, wagging her finger with Mrs.'s wedding ring. Thorwald on it. Thorwald noticed this, and realized that he was gesturing to someone, he saw Jeff cross the yard.
Call Jeff Doyle and leave an important message. Stella heads to the police station to send a guarantee for Lisa. When the phone rang, Jeff considered it Doyle, and said that the suspect had left the apartment. When no one answers, Jeff realizes that Thorwald himself has called, and is heading to face him. When Thorwald came in, Jeff repeatedly installed his flashbulbs camera, while blinding him. However, Thorwald grabs Jeff and manages to push him out of the open window, as Jeff shouts for help. Police officers entered the apartment when it fell to the ground; another officer had run to break his downfall. Thorwald confessed to the police shortly thereafter.
A few days later, the heat had lifted, and Jeff rested quietly in his wheelchair, now with a cast on both legs. The lonely neighbor was chatting with the pianist in her apartment, the dancer's lover coming home from the army, the couple whose dog was killed had a new dog, and the newly married couple had a fight.
Lisa was lying in bed in Jeff's apartment, wearing jeans and apparently reading a book called Beyond the High Himalayas. As Jeff fell asleep, Lisa placed the book and happily opened the fashion magazine.
Maps Rear Window
Cast
- James Stewart as L.B. "Jeff" Jefferies
- Grace Kelly as Lisa Carol Fremont
- Wendell Corey as NYPD Det. Lieutenant Thomas "Tom" 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
- Frank Cady and Sara Berner as husband and wife, living above Thorwalds, with their dog
- Jesslyn Fax as "Miss Hearing Aid"
- Rand Harper and Havis Davenport as Newlyweds
- Irene Winston as Mother Anna Thorwald
Got no recognition yet
- Harry Landers as Miss Lonelyhearts youth
- Ralph Smiles as Carl, the server
- Fred Graham as a detective
Give note
- Director Alfred Hitchcock made his traditional cameo appearance in the songwriter's apartment, where he was seen weaved.
Production
The film was taken entirely in the Paramount studio, including a huge indoor set to replicate the Greenwich Village page. Designers Set It Pereira and Joseph MacMillan Johnson spent six weeks building a very detailed and complex set, which eventually became the largest of its kind in Paramount. One of the unique features of the set is the massive drainage system, built to accommodate the rain sequences in the film. They also build sets around a highly nuanced lighting system that can create natural-looking effects for day and night scenes. Although the address given in the film is 125 W. Ninth Street in Greenwich Village in New York, the set is actually based on the actual page located at 125 Christopher Street.
In addition to the careful and detailed care that is put into the set, attention is also given to the sound, including the use of natural sound and music that will float across the yard and into Jefferies' apartment. At one point, Bing Crosby's voice can be heard singing "To See You Is to Love You", coming from Paramount 1952 Road to Bali . Also heard on the soundtrack is a version of a song popularized earlier in the decade by Nat King Cole ("Mona Lisa", 1950) and Dean Martin ("That's Amore", 1952), along with a segment of Leonard Bernstein's score for the Jerome Robbins ballet Fancy Free (1944), Richard Rodgers song "Lover" (1932), and " M'appari tutt'amor " from opera Friedrich von Flotow Martha 1844), mostly borrowed from Paramount music publisher, Famous Music.
Hitchcock uses costume designer Edith Head on all of his Paramount movies.
Although Hollywood veteran composer Franz Waxman is credited with the score for the film, his contribution is limited to the opening and closing of titles and tune pianos ("Lisa") written by one of the neighbors, a composer (Ross Bagdasarian), during the movie. This is Wax's final score for Hitchcock. The director mainly uses the "diegetic" sound - a voice that emerges from the normal life of a character - throughout the movie.
Reception
The "world premiere" for the film, with United Nations officials and the "leading members of the social and entertainment world" in attendance, was held on August 4, 1954, at the Rivoli Theater in New York City, with proceeds going to the American-Korean Foundation assistance established immediately after the end of the Korean War and led by President Eisenhower's brother).
The film was released widely on September 1, 1954.
The film went on to earn about $ 5.3 million at the North American box office in 1954.
The film received very positive reviews from critics and is considered one of Hitchcock's best films. On the Rotten Tomatoes website, the film has been universally praised, garnering a new 100% certified rating, based on 61 reviews, with consensus stating that "Hitchcock exerts its full potential of tension in this work."
Critic Bosley Crowther of The New York Times attended the premiere, and in his review referred to the film as "a tense and exciting exercise" and a director Hitchcock whose work has "the maximum increase for blows, maximum fraud and carefully tricked incidents to divert and entertain. "Crowther also noted:" Mr. Hitchcock's film is not 'significant. " What is said about people and human nature is shallow and eloquent, but it reveals many aspects of the solitude of urban life, and it secretly demonstrates the morbid curiosity impulse. The goal is sensation, and that it generally provides in colorful detail and in a flood of threats towards the end. "
Time calling it "may be the second most entertaining image (after 39 Steps) ever made by Alfred Hitchcock" and the movie is "never instant"...when the Director of Hitchcock was not in minutes and took control of his material. "The same study also notes" occasionally studying the missing feelings and, more importantly, the frightening feelings of a Hitchcock audience reacting in a very cautious manner as seems to be practically conquered. " Variety calling the movie "one of Alfred Hitchcock's better thrillers" that "combines both technical and artistic skills in a way that makes this a part of the amazing mystery of killing entertainment."
Nearly 30 years after the initial release of the film, Roger Ebert reviewed Universal Release in October 1983, after the real Hitchcock was completed. He says the movie "develops like a clean, neat line from start to finish that we pull through it (and into it) easily." The experience is not so much like watching a movie, like... well, and because Hitchcock keeps us in Stewart's voyeurism, we are together for the journey When an angry man comes through the door to kill Stewart, we can not escape ourselves, because we also see, so we share the guilt and the way we deserve what comes to him. "
Awards and honor
Analysis
In his book, "The Back Window" Alfred Hitchcock, John Belton discusses the issues that underlie voyeurism, patriarchy, and feminism are evident in the film. He affirmed "Rear Window's " is "about" the spectacle; it explores the appeal with the look and appeal of what is being viewed. "
Voyeurism
John Fawell noted in Dennis Perry's book Hitchcock and Poe: The Legacy of Delight and Terror, that Hitchcock "recognizes that the darkest aspect of voyeurism... is our desire for bad things to happen to people... to make ourselves feel better, and to rid ourselves of the burden of examining our own lives. "The Master of Terror challenged the audience, forcing them to peer through the back window and be exposed, as Donald Spoto called it in his 1976 book The Art of Alfred Hitchcock: Fifty Years of Motion Picture , "social contagion" acts as a voyeur.
In an explicit example of the curse of voyeurism, Stella expressed her anger at Jeffrey's voyeuristic habit, saying, "In the past, they would turn your eyes with red hot poker" and "What people have to do is get outside and look for change."
One climax scene in this film illustrates both the positive and negative effects of voyeurism. Encouraged by the curiosity and unrelenting watching, with Jeffries watching from his window, Lisa sneaks into Thorwald's second-floor apartment, searching for clues, and is caught by her. Jeffries in a clear anxiety and coped with panic when he saw Thorwald walking into the apartment and noticed the irregular placement of the bag on the bed. Jeffries is anxious in a wheelchair, and takes a tele camera to watch the situation unfold, finally calling the police because Miss Lonelyhearts is thinking of committing suicide in a neighboring apartment. Coolly, Jeffries watched Lisa in Thorwald's apartment instead of watching the woman who would commit suicide. Thorwald turned off the lights, turning off the only means of communication with and protecting Lisa; Jeffries was still watching the dark black apartment, not Miss Lonelyhearts. The tension that Jeffries felt was unbearable and very sad when she realized that she was responsible for Lisa now because she could not see him. The police went to Thorwald's apartment, the lights flashed, and the dangers that had come towards Lisa were temporarily dismissed. Though Lisa is taken to jail, Jeffries is completely fascinated by her unforgiving actions.
With further analysis, the positive evolution of Jeffries can be understood to be impossible without voyeurism - or as Robin Wood put it in his 1989 Hitchcock's Films Revisited, "indulging in the unnatural curiosity and consequences of the passion. "
Legacy
In 1997, Back Window was selected for conservation in the United States National Film Register by the Library of Congress as "significant cultural, historical or aesthetic". At the moment, this film attracts other directors with the theme of voyeurism, and the reworking of other films soon followed, including the 1984 Brian De Palma Body Double and 1993 Phillip Noyce Sliver .
Back Window restored by teams Robert A. Harris and James C. Katz for his limited theatrical release in 1999 (using Technicolor dye-transfer prints for the first time in the history of this title) and Edition DVD Collector's Edition in 2000.
The American Film Institute includes films as number 42 in AFI 100 Years... 100 Movies, number 14 on AFI 100 Years... 100 Thrills, number 48 in AFI 100 Years... 100 Movies (10th Anniversary Edition) and number three in AFI 10 Top 10 (Mystery).
Ownership
The copyright ownership in Woolrich's original story was finally brought before the United States Supreme Court at Stewart v. Abend . The film was copyrighted in 1954 by Patron Inc., a production company founded by Hitchcock and Stewart. As a result, real Stewart and Hitchcock became involved in the Supreme Court case, and Sheldon Abend became a 1998 remake producer of Rear Window .
The Back Window is one of several Hitchcock movies originally released by Paramount Pictures, where Hitchcock retained the copyright, and which was later acquired by Universal Studios in 1983 from Hitchcock's estate.
Home media
On September 4, 2012, Universal Studios Home Entertainment re-released the Rear Window to DVD, as the Regional 1's widescreen DVD. This release includes items available in the 2001 release.
On May 6, 2014, Universal Studios Home Entertainment released Back Window to Blu-ray format, with a little extra expanded.
In popular culture
Rear Window has been repeatedly retold, parodied, or referenced.
Movies Australian screenwriter Everett De Roche and director Richard Franklin (known as "Alfred Hitchcock of Australia") are both collaborating on Roadgames, described as "
Television
- A movie set is the basis for a comedy sketch on the 2009 Saturday Night Live episode. The sketch shows Jason Sudeikis as James Stewart and January Jones as Grace Kelly, whose stomach bloated persistently makes it impossible to finish filming the scene. Bobby Moynihan also appeared as Alfred Hitchcock.
- Rear Window was re-created as a television movie of the same name in 1998, with an updated storyline in which the main character was paralyzed and living in a high-tech house filled with assistive technology. Actor Christopher Reeve, who was paralyzed by a horse-riding accident in 1995, plays the lead role. Telefilm also stars Daryl Hannah, Robert Forster, Ruben Santiago-Hudson, and Anne Twomey. It aired November 22, 1998, on the ABC television network.
- In the episode of Get Smart, titled "Greer Window" (season four, episode 24, original broadcast March 15, 1969), Maxwell Smart was locked up at home, recuperating from a gunshot wound to his hand. the back. Bored from his mind, he uses binoculars to look into the lives of people in the office tower across from his apartment building - with a special interest in Greer Industries, and his charming blond secretary. When the secret documents began to disappear from Greer Industries, Agent 99 disguised while Max watched him from his apartment.
- The Simpsons falsified Rear Window in the episode "Bart of Darkness", which took place during the summer. The Simpsons get a pool and Bart then breaks his legs, forcing him to spend time in his bedroom with his feet in a cast. Like Jeff in Back Wind, Bart uses a telescope and watches the people of Springfield from his bedroom window. He suspects Ned Flanders killed his wife Maude, only to discover that Ned killed the Maude factory by accident. The "Simpsonized" version of James Stewart appeared in the episode.
- That's a spoofed Rear Window, along with other Hitchcock movies, in season three, episode 4 "Too Old to Trick or Treat, Too Young to Die "(originally aired October 31, 2000).
- The Flintstones spoofed Back Window in season two, episode 4 "Alvin Brickrock Presents".
- The Rocko's Modern Life episode "Ed is Dead: A Thriller!" is a parody of Back Window .
- The 100th Episode of Castle "The Lives of Others" is a joke featuring the wounded Richard Castle, locked up in his apartment and becoming obsessed after witnessing what he believed to be murder, but actually arrangement by friends and family to celebrate his birthday.
- The
episode of "Neighborhood Watch" draws themes from Back Window . - The first episode of the British comedy series My Life in Film is a parody of this movie.
- An episode of the British sitcom The Detectives , also titled "Rear Window", falsified the movie, with one wheelchair-bound protagonist after the accident and convincing a neighbor guilty of murder.
- Episode Psych "Mr. Yin Presents" refers to the theme of Rear Window when Yin cast Shawn as "Jefferies". Shawn had the impression of James Stewart before taking his place in a wheelchair facing all the action. Shawn then replied Gus, "Gus, that Rear Window , I can see all of you, I can see everything, the question is what really matters."
- The Raising Hope episode "Murder, He Expects" a Parody of the Rear Window and several other Hitchcock movies.
- The Family Guy episode of "Crime and Meg's Demeanor" parody Back Window , with Brian Griffin believing Principal Shepard has killed his wife.
Literature
- Nova Ren Suma's short story "The birds on Azalea Road", in Slasher Girls and Monster Boys anthology (2015), is partly inspired by Rear Window.
See also
- List of movies displaying supervision
- List of movies with 100% rating on Rotten Tomatoes, movie review collecting website
References
Note
Bacaan lebih lanjut
- Orpen, Valerie (2003). "Continuity Editing di Hollywood". Penyuntingan Film: The Art of the Expressive . Wallflower Press. pp. 18-43. ISBN 978-1-903364-53-6. OCLC 51068299.
- Orpen memperlakukan pengeditan Hitchcock dan Tomasini tentang Jendela Belakang secara panjang lebar dalam bab monografinya.
Tautan eksternal
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- Ulasan terperinci di Filmsite.org
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