Alfred Hitchcock's Rear Window is one of the icons of American filmmaking. A perfect example of Hollywood cinema at its best, it is an engaging piece of entertainment as well as a fascinating meditation on the nature of the film itself. A suspense thriller about a chair-bound observer who suspects his neighbor of murdering his wife, the narrative becomes the vehicle for Hitchcock's exploration of the basic ingredients of cinema, from voyeurism and dreamlike fantasy, to the process of narration itself. This volume provides a fresh analysis of Rear Window, which is examined from a variety of perspectives in a series of essays published here for the first time.
I believe I have an answer to this old poser: If you were stranded on a deserted island and could have just one book/movie/song, what would you choose?
I’d probably opt for my favorite director’s 1954 crowd-pleaser, "Rear Window." It’s wildly entertaining, deeper than surface level, and epitomizes 1950s Hollywood glamour. As far as I’m concerned, it contains James Stewart’s and Grace Kelly’s finest work.
Belton has compiled essays on every aspect of Alfred Hitchcock’s thriller: the fascinating set design, the fashion statements, a feminist perspective on the story, contemporary film reviews, etc.
The most impressive thing to me about this movie is how well it holds up. One of my favorite YouTube pastimes is checking out “first-time watching” videos, in which young people, usually in their 20s, record their reactions to — you guessed it — first-time viewings of classic films. Judging from their delighted experiences, I’m guessing more than a few of them would consider taking "Rear Window" to their deserted islands. -- grouchyeditor.com