Skip to content

Rear Window

One of the most famous procedural thrillers in film history and routinely voted amongst the greatest films ever produced, Rear Window came relatively early in a long string of masterpieces from Hitchcock that all delve deeply into the American consciousness. L.B. “Jeff” Jefferies (James Stewart) is a New York magazine photographer who spends most of his time on assignment in far-flung and dangerous corners of the world. Laid up with a broken leg, he’s forced into a narrow view out of his apartment window, where he observes the other tenants’ daily lives. His girlfriend, Lisa Fremont (a radiant Grace Kelly), visits and dotes on him, as does his nurse (Thelma Ritter). When the wife of a salesman (Raymond Burr) turns up dead one night across the courtyard, the three become embroiled in a tense and confounding mystery. Rear Window is at once a whip-smart psychological riddle, a metaphor for cinema itself, and one of Hitchcock’s greatest creations. “I love Hitchcock. Rear Window is a film that makes me crazy, in a good way. There’s such a coziness with James Stewart in one room, and it’s such a cool room, and the people who come into this room—Grace Kelly, for instance, and Thelma Ritter—it’s just so fantastic that they’re all in on a mystery that’s unfolding out their window. It’s magical and everybody who sees it feels that.”—David Lynch.

Genres: Thriller

Other Films by Alfred Hitchcock

Psycho

“Phoenix, $40,000, car lot, traffic cop, Bates Motel, taxidermy, keyhole, shower, knife: every cinephile has committed these details to memory, with the composite whole long since contaminating the broader cultural imagination. Filmed in thirty days using Hitchcock’s television crew (along with indelible contributions from composer Bernard Herrmann and title designer Saul Bass), the densely pathological

Vertigo

Topping Sight & Sound’s most recent critics’ poll of the 50 greatest films of all time, this 1958 psychological thriller was considered a critical and box office failure in its initial release. Hitchcock casts Jimmy Stewart against type as a traumatized, former San Francisco cop turned gumshoe whose chance encounter with a mysterious woman (Kim

Easy Virtue

Hitch’s “wrong man” theme finds early expression in this tale of a young woman divorced by her husband after being wrongfully accused of adultery.

Downhill

“DOWNHILL mixes cynical humor with sexual horror as it tracks star rugby player Roddy’s descent from upstanding British schoolboy to Montmartre gigolo, the downhill road laid for him by a series of scheming women. Hitchcock’s formal audacity is on flamboyant display in false flashbacks, upside-down POV shots, and massive foreground objects dwarfing the characters behind

Easy Virtue

The tyrannies of polite British society come under scrutiny in this adaptation of Noël Coward’s stage hit of the same name. Adapted by Eliot Stannard, who scripted most of Hitchcock’s silent films, EASY VIRTUE offers an early example of one of Hitchcock’s favorite themes: the “wrong man”—in this case, woman. After Larita Filton is unjustly