Original and Fascinating; Hitchcock's Window On Hidden Secrets

Rating: 9/10 (23 June 2005)

This narrative is not about "voyeurism" as some have opined; it is about human self assertion in the world of reality, not of people. It also has to be one of Alfred Hithcock's signature noir achievements; it is both popular an estimable for many reasons, I suggest. The set is one of the most memorable and imaginative eve--group of New York apartments across a courtyard, visible from his window to wheel-chair bound photographer Jimmy Stewart as he recovers from an accident suffered while photographing at an auto race track. Bored, he begins observing his neighbors, in a detached, using optical instruments where necessary and taking a few photographs. His would-be-fiancée, pretty Grace Kelly, begins by distrusting his entertaining himself in this manner; but his loquacious maid Thelma Ritter approves of his "hobby". When Stewart believes he has discovered a murder perpetrated by Raymond Burr as Lars Thorwald, a true figure of menace, he enlists the help of his police detective war buddy played magnificently by Wendell Corey. This is noir because the authorities charged with helping in such a case--his best friend--refuse to believe him. What follows is a double climax that is most exciting. Thorwald catches Kelly searching in the murder apartment, so Stewart has to call police to get her away; and then Thorwald penetrates his anonymity and comes after him, to try to kill him. Kelly does well as Stewart's snooty but courageous girl, and Ritter is in top form as an enthusiastic co-conspirator. No one else is given much to do in the film except to be background characters; but this talented group includes Jesslyn Fax, Frank Cady, songwriter Ross Bagdasarian, Judith Evelyn and Georgine Darcy. This script has been adapted from a fascinating story idea by veteran Cornell Woolrich; John Michael Hayes and director Hitchcock also contributed. This is an expensive-looking production wherein Waxman's subtle score, intricate settings, costumes, art direction, lighting, cinematography and sound are all far-above-average. Stewart has one of his best roles ever here, and Burr despite a lack of lines made a strong impression as the white-haired killer so much older than his own years. The film is perhaps overrated in importance; but it would nearly be impossible to overvalue the skill exerted by Hitchock in camera use or the cleverness of his management of space and time in achieving what we see here. The result is a polished gem of directing, from the daring opening 360 degree establishing pan shot that introduces us to Stewart's presently-limited world of action (with his broken leg) to the exciting climactic battle with Thorwald involving flashbulbs as a defense and police racing to save him before it's too late. Kelly throughout wants him to become a society photographer and marry her; Stewart wants to continue being a free-lance observer of the world in dangerous places. So the underlying theme of this low-key narrative is "how people need to find out what makes them happy"; the film is Stewart's evidence as "Scotty" that he needs to be who he is--a man who slakes his curiosity in the world by observing and remaining just a little detached. A most watchable minor masterpiece; artistically, it's no "Vertigo" or "Duel in the Sun"; it is an undeniable and original classic mystery.