Rear Window

Rear Window is emblematic Hitchcock's suspense at its finest. The movie formulates Hitchcock signature cinematic tension, however faintly, through an austere approach. The story started with L.B Jeffries (my goat James Stewart), a photographer in a wheelchair with a cast on his leg. With limited mobility while confined in his apartment, all he can do just sit around and observe his neighbors through his binoculars and long ass camera lense. In this miniaturized world, every neighbor, every window tells different stories--a woman who fell asleep during sunbathing, an enticing balet dancer, peculiar couple that sleep on the fire escape, a lonely woman who always rehearses a dinner with her hypothetical partner, a pianoman that soothes the neighbors with his play. Everybody else lives their own fulfillment in the foreground. And of course, despite every aforementioned divergence, the underbelly of movie structure was unveiled when he senses a lurid motion from a businessman and his sick wife's window. Jeffries and his lover, Lisa Fermont (my bini Grace Kelly) conspired to solved the mystery that lingers beneath the building complex. Alfred Hitchcock is truly a beast at filmmaking, the way he wields a simple touch of voyeurism, yet somehow ample enough to build an engaging feeling over time. To sum up, Rear Window is an unnerving, slow-paced psychological masterpiece that kept me fidgeting in one sitting.