FCC Discussion: Rear Window

Deadlock

New member
As was mentioned in the Film Connoisseurs? Club thread, we?ll be discussing the film decided upon last week. So for those who are ready, this is where we?ll discuss Rear Window. This thread will definitely not be spoiler free, so you?ve been warned!



To agree with my esteemed colleague Joe Brody, Grace Kelly steals the show in Rear Window. In her character, I find a fascinating perspective on femininity on film. Let me explain...

Rear Window was released in 1954. Now when I think ?1950s? and ?women?, I definitely get a mental image of the uber-homemaker (IE Mrs. Cleaver). Now, I?m guessing I?m not the only one, due to several films I?ve seen recently (Pleasantville, Mona Lisa Smile). Of course, our modern sensibilities recoil at the concept of women as uber-homemakers. Thus, both of the films I mentioned are stories about breaking free from ?the fetters of stodgy 1950s morals?. These films are definitely preaching from a romanticist/bohemian/hippy soapbox. (And just to be clear, it?s not that I don?t think that the uber-homemaker archetype wasn?t present in 1950s... it?s just that I this false ideal was propaganda at the time, and that it?s STILL propaganda.)

Enter Rear Window... Here?s a film made and set in the fifties. At first blush, it seems that Grace Kelly?s character, Lisa Fremont, is going to follow our expectations of the stereotypical fifties women. Instead, she rapidly destroys the Mrs. Cleaver idol: Grace Kelly is aggressive (and not in just her business dealings ;)), independent, and not about to cash her in interests just to make Jimmy Stewart happy. Grace Kelly is the one who drives the two storylines in Rear Window: the murder-mystery and the love story between Jeff and Lisa. If things were left up to Jimmy Stewart, he would have remained on the sidelines, a mere spectator.

As Grace Kelly takes the active role in infiltrating the Thorwald?s apartment... I?m watching her doing this burglar stuff dressed up in her very feminine fifties woman getup. Afterward, I was reflecting on how that just SHOULDN?T work. If I said, picture this: Mrs. Cleaver climbing up a fire escape to collect evidence from a murderer?s apartment. The mental picture seems too far-fetched or silly to work. But ol? Hitch made it work... it was one of the great suspense scenes of the film (which may be why he?s a legendary filmmaker, and I?m not. :)). There was something about a very feminine character in this dangerous situation that was just really stood out in my mind. In that suspenseful scene in the apartment, she avoided all sorts of other common portrayals of women in the movies. She was neither a helpless victim nor a semi-worthless tagalong. At the same time, she wasn?t ?masculine-nized? either.

I love the ending scene of the film. It teases us with the idea that she sold out... but that last second replacement of ?Beyond the High Himalayas? with ?Bazaar? let?s us know that Grace Kelly is still behind the wheel.

I found Rear Window?s portrayal of an independent fifties woman so much more appealing than any of the modern attempts. Not just because it?s Grace Kelly ;), but because Hitch didn?t have to preach it. Lisa Fremont doesn?t need the ?liberation? that our wooden revisionist films want to offer her.
 

Mariah

Guest
Rear Window is a rare film in that it displays excellence in just about every way. It begins with a fantastic screenplay that was enormously detailed and brought every necessary nuance to the subjective point of view that is the basis of the film. In fact, about the only problem I have with the entire screenplay is the fact that not even Hitch could convince me that the goings on next door hold more attraction than Grace Kelly... :p
 

Paden

Member
Deadlock said:
As Grace Kelly takes the active role in infiltrating the Thorwald?s apartment... I?m watching her doing this burglar stuff dressed up in her very feminine fifties woman getup. Afterward, I was reflecting on how that just SHOULDN?T work. If I said, picture this: Mrs. Cleaver climbing up a fire escape to collect evidence from a murderer?s apartment. The mental picture seems too far-fetched or silly to work. But ol? Hitch made it work... it was one of the great suspense scenes of the film (which may be why he?s a legendary filmmaker, and I?m not. :)). There was something about a very feminine character in this dangerous situation that was just really stood out in my mind. In that suspenseful scene in the apartment, she avoided all sorts of other common portrayals of women in the movies. She was neither a helpless victim nor a semi-worthless tagalong. At the same time, she wasn?t ?masculine-nized? either.
Honestly, I'd never considered this facet of Kelley's character before, but I believe you're on-target. In watching the scene where she invades Thorwald's apartment, even recently, I found myself wrapped in Jeffries' helplessness to warn or give aid to Lisa (such was the brilliance of Hitchcock shooting that scene, and the majority of the movie from the confines of Jeffries' apartment). Still, on analysis, what you point out is correct. Fremont is completely feminine and completely independent. Her self-direction is evident throughout the film. It's interesting that in numerous films that came after Rear Window, women that are depicted as independent persons of action are frequently shown as being significantly more masculine in mannerism or character. Hitchcock was a bit ahead of his time with Fremont's character, and more grounded in reality.

For some reason, in viewing Rear Window, one thing I was taken with was the organic quality of the film. (I know, weird choice of words..lemme explain). What amazes me about the film in part was that it was entirely filmed on one large set, but frankly it doesn't feel like a set at all. The way that Hitchcock depicts the various inhabitants of the buildings, from Miss Lonelyhearts to the couple that sleep on the fire escape, breathes life into the environment. However briefly we see each of Jeffries' neighbors, they are believable and distinct, and their comings and goings in the buildings have a distinct air of reality for anyone that has lived in similar circumstances. Perhaps that is part of the brilliance of the film itself. In injecting believable horror into such circumstances, it makes the subsequent suspense and terror easy to accept, as it unfolds within such a credible environment. With all of the emphasis (and advances) regarding special effects in today's cinema, would be filmmakers would do well to study Rear Window, to see how illusion is created by a master director.

The other thing that I appreciated this time around (and which I've already alluded to) was the fact that much of the film is shot from within the confines of Jeffries' apartment. Although Stewart's performance is excellent throughout, this simple technique ties us into his character even more closely, especially when the suspense begins to intensify. The fixed view from the window helps us more deeply feel Jeffries' helplessness. I think that the first time I viewed Rear Window, I was only subconsciously aware that this technique was employed, as I was completely tied into the story. But on subsequent viewing, I've come to appreciate how it enhances both the development of the main character and the nigh overwhelming suspense of the story. Brilliant.
 
Last edited:

Deadlock

New member
paden said:
For some reason, in viewing Rear Window, one thing I was taken with was the organic quality of the film. (I know, weird choice of words..lemme explain)...

I definitely agree with your "organic" description of the apartment courtyard. It reminds me very much of living in a college dorm. I'd also think that each of these seemingly unrelated apartments forms a larger "essay" on human relationships (especially male/female relationships). It seems that each courtyard window offers a view into one piece of the spectrum of human relationships:

1. The newlyweds --> Together, happy for awhile, but moving toward some disillusionment
2. Miss Torso --> Has plenty of attention (from "wolves") and a long-distance relationship (that we surmise is more genuine), keeps the home fire burning till her soldier gets home
3. The Thorwalds --> A disintegrating marriage that ends... badly.
4. The fire escape couple --> Arguably the truly happiest and well-matched people in the film, their relationship is steady enough for them to be externally-focused: Mrs. Fire Escape delivers the important (and quasi-Messianic) monologue on what being a "neighbor" is all about.
5. Miss Lonelyhearts --> Desperately lonely, willing to turn to fantasy and substance abuse
6. The Musician --> A man who is focused on his work, who doesn't have time for companionship (besides the people that are somehow attached to his occupation and lifestyle).
7. Jeff (and Lisa)--> A complicated ballet of attraction, disparate interests, and compromise.

So, once again, Paden's "organic" idea rings true to me. I can identify real people in my life that approximate each of these situations (though the "Thorwalds" that I know haven't gone as far as killing each other. Yet... :))

paden said:
The other thing that I appreciated this time around (and which I've already alluded to) was the fact that much of the film is shot from within the confines of Jeffries' apartment.

I agree that this technique is essential in creating the suspense. Jeff is the audience and the audience is Jeff. With only one exception (seeing Thorwald leave the apartment while Jeff is asleep), we only see what Jeff sees.

paden said:
Brilliant.

I concur. ;)
 

Joe Brody

Well-known member
I agree that Grace Kelly's character is a unique blend of capability and uncompromised femininity -- but is it possible that her character is simply an ideal male fantasy figure?

Look at the time in the early 1950's: a lot of men were either just coming off exotic foriegn duty (occupying Germany, Italy and Japan) and/or war service was still a recent memory. Faced with settling down -- just like the dilemma faced by Jimmy Stewart's character -- there may have been fears among the bachelors of the day that getting hitched equaled a loss of freedom and adventure. Grace Kelly's elegant character was too good to be true -- a true dream girl. She could take verbal abuse, she was rich and didn't care about money, she was classy and the best looking thing on the planet -- and most importantly she wasn't afraid to take chances (in fact she was able to find adventure after the guy's own adventuring days seemed to be over). All she asked was a commitment. . . .

Sounds like a great deal.

(I don't really buy this scheme -- I agree Hitchcock was banking on the incongruity in her character to make her more interesting. Just thought it was something to kick around.)
 

Deadlock

New member
Ideal male fantasy figure? Depends on the male fantasy, I guess. ;)

Though I think your fifties scenario is a possibility, another likely scenario could fit into more of the 1950s stereotype. Maybe these fifties men just wanted to come home to the wife making pot roast every night. In which case, Lisa Fremont would be a nightmare... "A woman who makes her own living, comes and goes as she pleases, and refuses to bend her will to the whims of her man???" Shocking! :eek:

But I will definitely agree with you... Sounds like a great deal. ;)
 

Mariah

Guest
Grace Kelly was known to be pretty wild off-screen, having multiple sexual partners. Ingrid Bergman and Vivien Leigh were the same. I think that when you watch Rear Window with this in mind it makes it more exciting.
 

Joe Brody

Well-known member
Mariah said:
Grace Kelly was known to be pretty wild off-screen, having multiple sexual partners. Ingrid Bergman and Vivien Leigh were the same. I think that when you watch Rear Window with this in mind it makes it more exciting.


Who are you?
 
Top