Nobody keeps you in suspense and surprise in the same breath as masterfully as Alfred Hitchcock. His films explore the guilty pleasures of mankind. Though the surprise is not as memorable as the suspense, it still lingers to keep you wide-eyed and craving for more. And Rear Window, which is about a man looking into his neighbors’ houses as he’s stuck at home with a broken leg, is a sensational film so artistically shot. The beautiful and bright visuals strike the perfect chord with the intellectual and philosophical dialogues. The camera moves back and forth between each house, into a person’s private and lonely and repetitive life. And that’s what so interesting about Hitchcock’s vision. He went beyond the ho-hum of routine and made it look imaginative and picturesque.
On closer inspection, you feel the anticipation and wonder of our most beloved protagonist, played by James Stewart. His refined inquisitiveness and charming sensibility evoke a realistic and entertaining atmosphere. When paired with Grace Kelly and her calm and poised disposition, the film is hard to resist. The film elicits an acute and unwavering feeling. As if you’re looking out of and into the rear window simultaneously. You’re the one watching and the one being watched. For a minute you’re there looking in, and soon after, you’re here looking out.
The cinematography allows no mistakes, nothing passes that you didn’t already see, and each movement goes directly to your memory, where films like Rear Window stay for longer and are often unforgettable. It’s a delicious and entertaining tour-de-force that explores the profanity of everyday lives, the ordinariness of it, and its imperfect clumsiness.