Rear Window (1954)

Note Générale:

8,8/10   

Réalisateur:

Alfred Hitchcock

Scénaristes:

John Michael Hayes (screenplay)
Cornell Woolrich (short story "It Had to Be Murder")

Date de sortie:

14 janvier 1955 (Japan)

Genre:

Crime | Mystère | Romance | Thriller

Accroche:

Through his rear window and the eye of his powerful camera he watched a great city tell on itself, expose its cheating ways...and Murder!

Intrigue:

A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.

Plot Keywords:

Apartment | Neighbor | Salesman | Window | Nurse

Récompenses:

Nominated for 4 Oscars. Another 4 wins & 5 nominations

Avis des utilisateurs:

Our Obsession with Voyeurism

US TV Schedule:

Thur. Nov. 12

10:00 PM

TCM

Ensemble

James Stewart	...	L. B. 'Jeff' Jefferies
Grace Kelly	...	Lisa Carol Fremont
Wendell Corey	...	Det. Lt. Thomas J. Doyle
Thelma Ritter	...	Stella
Raymond Burr	...	Lars Thorwald
Judith Evelyn	...	Miss Lonelyhearts
Ross Bagdasarian	...	Songwriter
Georgine Darcy	...	Miss Torso
Sara Berner	...	Wife living above Thorwalds
Frank Cady	...	Husband living above Thorwalds
Jesslyn Fax	...	Sculpting neighbor with hearing aid
Rand Harper	...	Newlywed man
Irene Winston	...	Mrs. Anna Thorwald
Havis Davenport	...	Newlywed woman
Marla English	...	Girl at songwriter's party
Kathryn Grant	...	Girl at songwriter's party (as Kathryn Grandstaff)
Alan Lee	...	Newlyweds' landlord
Anthony Warde	...	Detective
Benny Bartlett	...	Man with Miss Torso
Fred Graham	...	Detective
Harry Landers	...	Man with Miss Lonelyheart
Dick Simmons	...	Man with Miss Torso
Iphigenie Castiglioni	...	Woman with bird
Ralph Smiley	...	Carl, waiter from 21
Eddie Parker	...	Detective (as Edwin Parker)
Len Hendry	...	Policeman
Mike Mahoney	...	Policeman
reste de la distribution par ordre alphabétique:
Jerry Antes	...	Dancer with Miss Torso (uncredited)
Barbara Bailey	...	Choreographer with Miss Torso (uncredited)
Nick Borgani	...	Minor Role (uncredited)
Sue Casey	...	Sunbather (uncredited)
James Cornell	...	Minor Role (uncredited)
Don Dunning	...	Detective (uncredited)
Bess Flowers	...	Songwriter's party guest with poodle (uncredited)
Art Gilmore	...	Radio announcer (voice) (uncredited)
Alfred Hitchcock	...	Man winding clock in songwriter's apartment (uncredited)
Jonni Paris	...	Sunbather (uncredited)
Jack Stoney	...	Ice Man (uncredited)

Réalisé par
Alfred Hitchcock

Scénaristes
John Michael Hayes		(screenplay)
Cornell Woolrich		(short story "It Had to Be Murder")

Produit par
James C. Katz	....	producer (1998 restoration)
Alfred Hitchcock	....	producer (uncredited)

Musique originale
Franz Waxman

Image
Robert Burks		(director of photography)

Montage
George Tomasini

Direction artistique
J. McMillan Johnson		(as Joseph MacMillan Johnson)
Hal Pereira

Décorateur de plateau
Sam Comer
Ray Moyer

Maquillage
Wally Westmore	....	makeup supervisor

Directeur de production
C.O. Erickson	....	unit production manager (uncredited)

Assistant réalisateur
Herbert Coleman	....	assistant director

Département Art
Dorothea Holt	....	illustrator (uncredited)
Gene Lauritzen	....	construction coordinator (uncredited)

Technicien du son
John Cope	....	sound recordist
Harry Lindgren	....	sound recordist
Harry E. Snodgrass	....	sound editor (1998 restoration)
Richard LeGrand Jr.	....	supervising sound editor (1998 restoration) (uncredited)
Loren L. Ryder	....	sound recording mixer (uncredited)
Samuel Webb	....	assistant sound editor: 1998 restoration (uncredited)

Effets spéciaux
John P. Fulton	....	special photographic effects

Visual Effects
Scott Dougherty	....	digital restoration producer: Cinesite (uncredited)
Jerry Pooler	....	digital restoration supervisor (uncredited)
Irmin Roberts	....	special visual effects (uncredited)
Tiffany Smith	....	digital restoration coordinator: Cinesite (uncredited)

Cascadeur
Fred Graham	....	stunt detective (uncredited)
Ted Mapes	....	stunts (uncredited)
Eddie Parker	....	stunt detective (uncredited)

Caméra et Département Electrique
William Schurr	....	camera operator (uncredited)
Leonard J. South	....	assistant camera (uncredited)

Département Costume et garde-Robe
Edith Head	....	costumes

Dpartement Editorial
Steve Johnson	....	colorist
Jeff Smithwick	....	color timer: Technicolor (1998 restoration) (uncredited)

Divers
Robert A. Harris	....	1998 reconstruction and restoration
Bob Landry	....	technical advisor
Richard Mueller	....	technicolor color consultant

Companies de production

• Paramount Pictures
• Patron Inc.

Distributeurs

• Paramount Pictures (1954) (USA) (theatrical)
• Les Films Paramount (1955) (France) (theatrical)
• Paramount Pictures International (1955) (Japan) (theatrical)
• Paramount (1955) (West Germany) (theatrical)
• Paramount Pictures (1962) (USA) (theatrical) (re-release)
• National Broadcasting Company (NBC) (1966) (USA) (TV) (original airing)
• Universal Pictures (1983-2000) (USA) (theatrical) (re-release)
• Cinema International Corporation (C.I.C.) (1984) (Japan) (theatrical)
• MCA Home Video (1984) (USA) (VHS)
• Universal Pictures (1999) (Germany) (VHS)
• USA Films (2000) (USA) (theatrical) (re-release)
• Universal Pictures (2001) (Germany) (DVD)
• Victor Entertainment (2001) (Japan) (DVD)
• Universal Pictures (2002) (Japan) (DVD)
• Universal Pictures Benelux (2007) (Netherlands) (DVD)
• Seven Films (2008) (Greece) (theatrical) (reissue)
• CIC Vídeo (Brazil) (VHS)
• MCA Home Video (video)
• MCA/Universal Home Video (USA) (VHS)
• MCA/Universal Home Video (USA) (laserdisc)
• Universal Home Entertainment (USA) (DVD)
• Universal Home Video (Brazil) (DVD)

Autre(s) titre(s):

Alfred Hitchcock's Rear Window (USA) (complete title)

Durée:

112 min

Pays:

USA

Langue:

Anglais

Couleur:

Couleur (Eastmancolor) (negative) | Couleur (Technicolor) (prints)

Rapport de forme:

1,66 : 1

Son:

Mono (Western Electric Recording)

Classification:

USA:PG (re-rating) (1983) (cerfiticate no. 27069) | Canada:A (Nova Scotia) (1983) | Canada:G (Quebec) (1983) | Canada:PG (Manitoba/Ontario) | USA:Approved (PCA #16938) | Portugal:M/12 | Spain:T | Iceland:L | Germany:12 | West Germany:16 (f) | Brazil:12 | Sweden:11 (re-rating) (1984) | Sweden:15 (original rating) (1955) | New Zealand:PG | Italy:T | Argentina:13 | Australia:PG | Chile:14 | Finland:K-8 | France:U (2000 re-release) | Netherlands:AL | Norway:16 | South Korea:15 | UK:PG | Peru:14 | Singapore:PG

Lieux de tournage:

Los Angeles, California, USA

Société:

Paramount Pictures

Anecdotes:

2007: The American Film Institute ranked this as the #48 Greatest Movie of All Time.

Goofs:

Audio/Video non synchronisé: While Lisa and Stella are digging up the flowers (about 92 minute mark) the pianist is shown playing with other musicians. When the harmonica players starts to play, a saxophone is heard although none is visible. The harmonica is subsequently heard also.

Guillemet:

[first lines]
Voice on radio: Men, are you over 40? When you wake up in the morning, do you feel tired and rundown? Do you have that listless feeling...
[the camera pans around the courtyard; cut to later in the day]
Jeff: [answering phone] Jefferies.
Gunnison: Congratulations, Jeff!
Jeff: For what?
Gunnison: For getting rid of that cast!
Jeff: Who said I was getting rid of it?
Gunnison: This is Wednesday; seven weeks from the day you broke your leg. Yes or no?
Jeff: Gunnison, how did you ever get to be such a big editor with such a small memory?
[...]

Connexions:

Référencé sur Swoon (1992)

Bande son:

That's Amore

Our Obsession with Voyeurism

After viewing 'Rear Window' again, I've come to realize that Alfred Hitchcock was not only a great moviemaker but also a great moviewatcher. In the making of 'Rear Window,' he knew exactly what it is about movies that makes them so captivating. It is the illusion of voyeurism that holds our attention just as it held Hitchcock's. The ability to see without being seen has a spellbinding effect. Why else is it so uncommon to have characters in movies look directly into the camera? It just isn't as fun to watch someone when they know you're there. When we watch movies, we are participating in looking into another world and seeing the images of which we have no right to see and listening to the conversations that we should not hear. 'Rear Window' and Powell's 'Peeping Tom' are some of the best movies that aren't afraid to admit this human trait. We are all voyeurs.

When watching 'Rear Window,' it is better to imagine Alfred Hitchcock sitting in that wheelchair rather than Jimmy Stewart. When the camera is using longshots to watch the neighborhood, it is really Hitchcock watching, not Stewart. Hitchcock's love of voyeurism is at the center of this movie, along with his fascination with crime and his adoration of the Madonna ideal.

In many of Hitchcock's movies, 'Rear Window,' 'Vertigo,' 'Psycho,' 'The Birds,' etc, the blonde actresses are objects. Notice how rarely they get close with the male leads. In 'Vertigo,' Stewart's character falls in love with the image of Madeleine; in 'Psycho,' we see the voyeur in Hitchcock peeking out of Norman Bates at Marion; and in 'Rear Window,' Jeff would rather stare out of his window than to hold the beautiful Lisa by his side. For Hitchcock, these women are ideals that should be admired rather than touched.

However, the story of 'Rear Window' isn't about the image of women, as it is in 'Vertigo.' 'Rear Window' focuses more on seduction of crime, not in committing it but in the act of discovering it. At one point in the story, Jeff's friend convinces him that there was no murder, and Jeff is disappointed, not because someone wasn't dead but because he could no longer indulge into his fantasy that someone was. Think how popular crime shows are on television, and noir films at the movies. People do not want to commit crimes; they want to see other people commit them.

'Rear Window' is one of the most retrospective movies I've ever seen. In a span of two hours, it examines some of the most recurrent themes in film. When we watch 'Rear Window,' it is really us watching someone watch someone else. And all the while, Hitchcock is sitting on the balcony and seeing our reaction. It is an act of voyeurism layered on top of itself, and it allows us to examine our own behavior as we are spellbound in Hitchcock's world. The only thing that I feel is missing in the movie is a scene of Jeff using his binoculars and seeing himself in a mirror. Why did Hitchcock leave it out? Maybe because it would have been too obvious what he was doing. Or maybe he was afraid that the audience would see themselves in the reflection of the lens.