One of Hitchcock's Best

Rating: 9/10 (20 September 2018)

Rear Window is a great example of how to tell a visual story in an unconventional form. This film is one of the first, if not the first film to be created in a blatantly voyeuristic style. What makes Rear Window such a renowned classic is not what the story is, but how the story is told.
Most of the characters that we're introduced to are seen throughout the entire film and are mostly seen but not heard. They each add to the story in subtle ways and sometimes even relate to the thoughts and feelings of the main character Jefferies. Since the film is viewed mostly through his perspective, these thoughts and feelings are beamed into the viewer as well. The audience pieces the ongoing mystery together along with Jefferies. This gives the viewer an active role in the film. They aren't there just to consume, they're meant to feel like an active participant in solving the mystery presented. We're immobile in Jefferies' studio apartment, only able to see events unfold from the inside of his window. This perspective is never broken. Even though the the setting isn't physically dynamic, viewers get a sense of a larger and more vibrant environment by viewing the lives of the characters through their own apartment windows.
Everything feels incredibly deliberate, which is characteristic of a Hitchcock film. Every scene and every frame serves a purpose. This is definitely a film that benefits from multiple viewings. By picking up on small subtleties that arise from the secondary characters, you'll begin to notice how it all ties together.
The acting still holds up well in 2018. It doesn't feel very dated. The actors all do a great job and are generally convincing. James Stewart in particular does a stellar job in delivering facial expressions that fit the situation at hand. His acting really shines through in the more suspenseful parts of the film, where the terror on his face instills total dread for anyone who watches.
Hitchcock of course is known to be adept at suspense. Rear Window in particular has a few key scenes that keep you at the edge of your seat. These sequences are agonizingly drawn out, but not so much that they lose their effect. These scenes are paced very professionally and they leave much to the imagination. The scene just prior to the end of the film requires that the viewer suspends their disbelief to a significant amount which for some could ruin the moment. However, everything else about this scene is a great example of how to build suspense properly without overdoing it.
The last aspect of this film that sets it apart from others is how there are essentially two stories being told. Of course, there's the murder mystery aspect of this film and all the standard elements that go with it. The main character gets curious and starts investigating and eventually the perpetrator is exposed and brought to justice. However, this film could also be viewed as a romance. The relationship between Jefferies and Lisa is just as important In this film as the investigating that they take part in. The relationship between the two at the beginning of the film seems strained and awkward and Jefferies is convinced that they aren't fully compatible because of their differing lifestyles. As the film progresses and Lisa takes an interest in helping Jeff investigate the murder, they grow closer as a result. This aspect of the story is never neglected as Lisa does play a major role in the murder investigation as well. Her role becomes more active as the film gets closer to its end.
It's no mystery why Rear Window has the following that it does. Like other Hitchcock films, this one showcases an experimental approach to storytelling in a similar vein as Rope. It's creative risks like these that keep film fresh and diverse. Modern aspiring film-makers could learn a lot from Hitchcock's approach to film-making with its intricate design and clever use of visual elements.
9/10