Rear Window

One of the films I’d been most anticipating in my watchlist for the longest time, and I’m glad to say my expectations were fulfilled. After only seeing one Hitchcock film thus far beforehand (the masterful Psycho), Rear Window was destined to be just up my street and another great entry point for Hitchcock’s work. Known best for his unrivalled cinematic display of suspense, that filmmaking technique is impeccably showcased. This film is all about perspective. The way humanity, or specifically James Stewart (in yet another career masterpiece) views things. We as the audience, restricted to the bounds of our protagonist’s apartment’s environment along with him, places us in similar constraints to the immobile Jeffries. Being stuck in one place, for a never ending time of course leads to immense boredom, therefore nosiness into a life more dynamic than his. As an audience our curiosity increases with the protagonist, which is forced by Hitchcock’s filmmaking which requires your upmost attention at all points, as to be the most eagle-eyed observer you can. So as the story progresses, you know the physical whereabouts of each room and character in Rear Window, leading to great audience engagement with the unfolding mystery which you race to figure out, with twists and turns that conclude with one of cinema’s most beautiful examples of cyclical structure. The ending I believe showcases the juxtaposition of the physical and psychological character of protagonist Jeffries, a man bound my physical inability to move who strives for any source of interest in his life to stray from a deprivation of excitement. When both legs are broken, but Jeffries lays on the apartment complex roof, the camera completely departing from the room for the first true time, expertly displays the ultimate victory in finding meaning in the meaningless.