Lots to see, even on a third viewing

Rating: Null/10 (11 February 2007)

Made around the same time that televisions started to become an essential part of the home, 'Rear Window' paints an interesting time capsule of a society devoid of television, where the only entertainment if stuck at home all day is watching the neighbours' activities. In fact, 'Rear Window' could even be seen as a film about television, with Jeffries, the protagonist, switching views of other apartments just like a man constantly changing channels on his television set. As Thelma Ritter's character Stella says, "We have become a race of peeping toms", relating to a key issue of the film: the voyeuristic tendencies of society.
Although it would not be made for another twelve years, the film bears a strong resemblance to 'Blowup', with Jeffries stating that "right now, I'd welcome trouble", an indication that his mind is overactive, searching for something interesting to follow. And with his detective friend, a character representing the devil's advocate, we are constantly hanging on the edge, weighing up the evidence for ourselves. We are also able to do more investigating than what the characters themselves conduct. In different windows, different events occur, some of which the protagonists note, and others of which we ourselves observe only.
The cinematography helps a lot in serving this cause. There are at least a couple of shots that scan the courtyard and then go back into Jeffries' apartment. These shots at first appear to be taken from the perspective of the characters, but since they do not end on the characters looking out the window, Hitchcock establishes a separation between us and the characters. We are learning more about what is happening outside when they are distracted. The way we are introduced to Jeffries also probes us to investigate: first we see his leg, then photos of accidents, and only later do we realise that the photographs are of potential accidents, rather than photos of his accident.
The opening shots of the film are amazing. Three blinds are slowly opened in the background as the main credits roll, just like how we are slowly opening our eyes as the film begins. Then the camera goes through the window, explores the courtyard, and finally ends up inside Jeffries' apartment, and on a perfectly focused shot of Jeffries. Another great shot is Lisa's first scene, where she kisses Jeffries in slow motion, almost as if it is a dream. The film is full of great shots and excellent camera-work, and to think - Hitchcock probably had to call most of those shots from the distance! It's a very fine directorial achievement.
Speaking of Hitchcock, his cameo here serves more purpose than in any other film of his. Before Thorwald notices that he is being watched, Hitch is the only character to actually look back at Jeffries. And aside from that, it's quite interesting with the whole relationship that is then established between director, actor, film, audience: the whole chain that is controlling what we are seeing. If nothing else, Hitch's cameo reminds us that even though we see more than what the characters are see, we only ever see ourselves what he allows us to see.