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(1954) "We're all voyeurs to some
extent"
- François Truffaut.
Laid up with a broken leg in his two-bedroom apartment in the "low-rent district" of... the West Village (?!), news fotog James Stewart wiles away the sweaty summertime hours between visits from uptown gal-with-her-eye-on-marriage Grace Kelly by using that telephoto lens to zero in on the human comedy - all bearing on love, marriage and desire - across his apartment courtyard: the lonely woman who prepares candlelight dinners for...one; the newlyweds who can't get enough; the boozing musician wrestling with that elusive love tune; the dancer with boyfriend overload; the childless couple with the beloved little dog - but, hey, what's Raymond Burr up to?
From a story by suspense titan Cornell Woolrich (writing as William Irish), this is one of the Master's greatest successes ("I was feeling very creative at the time, the batteries were well charged" - AH), both a witty, moving, and nerve-shredding entertainment; a technical tour de force [the gigantic studio set contained 31 apartments, with 12 completely furnished, while in Hitchcock's most ruthless orchestration of point of view, the camera never strays from what Stewart can see (spot the one exception), nor out of his apartment until the final scene]; and a meditation on the voyeurism of both filmmakers and the audience. Restorers James Katz and Robert Harris, working with Universal Pictures preservation chief Bob O'Neil and Universal sound department head Bill Varney, have created a new 35mm neg with the same frame-by-frame care they brought to Vertigo. Resurrecting vintage dye-transfer Technicolor, dormant since 1974, the restored Rear Window has a saturated richness in color impossible to match in modern printing processes, giving us a Hitchcock masterpiece that hasn't looked or sounded this good in 45 years.
A USA Films Release/
A Universal Studios Presentation.
FRI/SAT/SUN 1:00, 3:15, 5:30, 7:45, 10:00
MON 1:00, 3:15
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