• Alfred Hitchcock’s "Rear Window"
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  • Hitchcock’s Hide and Seek in Rear Window

Belton, John (ed.) (2000). Alfred Hitchcock’s Rear Window. Cambridge: Cambridge University Press.

Alfred Hitchcock's Rear Window is playing this week at ..

Alfred Hitchcock's Rear Window is playing this week ..

Chion, Michel, ‘Alfred Hitchcock’s Rear Window : The Fourth Side,’ in Belton, 2000: 110-117.
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Her friend, the model Carolyn (Scott) Reybold, had years earlier advised her to stop camouflaging it with pageboy hairstyles and to make a virtue of it instead, tying her hair back and creating an even greater illusion of perfection, with her small nose never casting an awkward shadow for camera angles (Jacobs, 2010: 142). Howell Conant discovered that problem when taking those famous stills in Jamaica some months after Thief wrapped, in Spring 1955: “You just had to be a little selective about the angles. Six inches this way, that way, up or down – that’s all I needed to move to get the jaw right.” As Robert Lacey describes, “Conant had accomplished the still-life equivalent of Alfred Hitchcock” (Lacey: 204, 203).

Paranoia and Homosocial Desire in Alfred Hitchcock's Rear Window

Rear Window Ethics: Remembering and Restoring a Hitchcock Classic (2000) Universal Studios
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After pondering the decision for some weeks, Kelly was finally given one hour by Jay Kanter to decide between making On the Waterfront (Kazan, 1954) and Rear Window (1954). The Kazan film had been shooting for some time whereas the Hitchcock production wouldn’t begin until December and she wouldn’t be arriving late to an already comfortable cast. (Her replacement, Eva Marie Saint, would of course play another cool blonde for Hitchcock in North By Northwest, 1959). She decided to work again with Hitchcock, the director whom she trusted. For the first time Kelly would have an entire film built around her as the stylish independent career girl, Lisa Carol Fremont, a former model turned fashion buyer and a busy socialite who becomes an action heroine to seduce her temporarily disabled long-term news photographer boyfriend ‘Jeff,’ L.B. Jeffries (James Stewart) into marriage, in the biggest set ever created at Paramount Pictures by the end of 1953. Author Robert Lacey rationalizes her decision to opt for the return to Hitchcock as follows:


as Television in Hitchcock’s Rear Window ..

The Camera tells the Story. Alfred Hitchcock’s "Rear Window"
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David Thomson describes the nature of the Hitchcock/Kelly relationship. “Like so many in the audience, Hitch adored Kelly – in Dial M For Murder , Rear Window , and To Catch a Thief , her puree of comedy, class and sex suited him perfectly, and it was delivered with a cool, glassy style that he cherished” (Thomson, 2009: 13). She would of course win an Academy Award, but not with Hitchcock. put her on suspension for refusing to participate in Tribute to a Bad Man with Spencer Tracy. When she was nominated for an Academy Award for Best Actress in Paramount’s The Country Girl (Seaton, 1954) the studio immediately tried to save face by announcing that she would be appearing for them in The Barretts of Wimpole Street (Wayne, 2002, 2004: 302). In 1955 she won the Oscar playing against type in that drab domestic drama adapted from the Clifford Odets play. Kelly was of course a complex performer, capable of wonderful range beyond the constructed nature of her image which was more immediately obvious to the audience than to critics at the time. Until the spring of 1955. She wore a dress designed especially for her by Edith Head for the occasion of the Academy Awards. She described her return with the statuette to the Bel Air Hotel that night as “the loneliest moment of my life.”

Rear Window Central Theme Alfred Hitchcock’s film the Rear Window is a ..
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