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A recent discussion about "Vertigo" on this website made me think about watching "Rear Window" again. I saw this film years ago, and I loved it. I watched it again last night with the same result. This film is regarded by many critics as one of Hitchcock's best. It stars James Stewart as a world famous photographer sidelined with a broken leg. As he sits in his apartment recovering from his injury, he becomes a voyuer, passing the hours watching the lives of his neighbors unfold through their rear windows. The result is a fascinating look at human nature, and our desire to watch. Like Stewart's character, Jeff, we are drawn into the lives of these strangers, without knowing their names or in some cases, ever hearing them speak. Love, marriage, fidelity, success, failure and of course (it is Hitchcock after all) murder--all of these subjects are put on display, simply by allowing us to sit and stare out of the window with Jeff. Grace Kelly is luminous as Jeff's girlfriend, Lisa Fremont. A successful fashion model who is madly in love with him, she appears in one gorgeous dress after another, begging for Jeff's attention, but failing to draw his gaze away from the window with her more than ample charms. Hitchcock films Lisa so that we are seduced by her, even when Jeff is not. She faces the camera as she kisses his neck, begging him to pay attention to her. Her Edith Head wardrobe is divine. Anyone remotely interested in 1950s fashions will love seeing the frocks Kelly so beautifully wears. Jeff ignoring Lisa for his voyeuristic pursuits makes this film feel relevant in 2016. Who hasn't seen groups of people sitting together, heads down, scrolling through their Facebook feeds or reading the news on their phones? Would they be happier if they looked up and talked to each other? Or, consider the concert-goers, taking endless photos and posting them on social media. Would they enjoy the performance more if they pocketed their phones and lost themselves in the music? In 1954, Hitchcock was making a statement about people watching films and, perhaps, TV. Think about how much more pervasive passive voyeurism has become in the past 60 years. "Rear Window" succeeds on many levels. It is a story of romance and mystery. There is a great deal of suspense in this film as it unfolds, all extremely well done by the master. If you haven't seen "Rear Window," I highly recommend that you do.
*** SPOILERS FOLLOW *** In one of the very first scenes of "To Catch a Thief," a woman yells out her window that her jewels have been stolen, and you're immediately transported to Nice - this great webpage on the.hitchcock.zone has all the locations used in filming the movie. In that first scene, the use of the black cat going up-and-down, to-and-fro on the rooftop in the night is Alfred Hitchcock's tongue-in-cheek way of representing the cat burglar, John Robie (Cary Grant), who owns a black cat. When Robie visits his old acquaintance's restaurant, the restaurateur's daughter, Danielle (Brigitte Auber) motorboats him away to safety, all the while mocking him with allusions to cats ("rubbing his fur the wrong way," etc.). Grace Kelly can look rather fetching: <--- The filly from Philly, berried in Grant's tomb. And if you're wondering what that gorgeous car is they're driving, it's a 1955 Sunbeam Alpine Series III Classic Drive. At the end of this telephone call, Bertani (Charles Vanel) and Robie both say what sounds like "Bonjour," which I've never heard in my life as a way to say goodbye - I think this is a mistake, and a big one considering Vanel is French and would know better: Now, why would M. Foussard (Jean Martinelli) want to kill Robie, hmm? I think I've got this one figured out: A little *too* obvious at this point? Then again, there are only 17 minutes left in the movie. There's a *knee* that went up behind Robie at the climax! See that gray lump on the left? Surprisingly, this is not on the IMDB "Goofs" list. Very, very basic question (and I don't rule out the possibility that I'm missing something): If Robie wanted to prove his innocence, why didn't he simply confide in the chief of police, and agree to secretly leave the area for a week or two? If a crime happened during that time, he was, by definition, innocent (assuming he didn't have an accomplice).