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(1954) Laid up with a broken leg in his “low rent district” flat (in the West Village!), news fotog James Stewart wiles away the sweaty summertime hours between visits from uptown gal Grace Kelly by using that telephoto lens to zero in on the human comedy across his courtyard — but, hey, what’s Raymond Burr up to? One of the Master’s greatest successes: a witty, nerve-shredding entertainment and technical tour de force. From a Cornell Woolrich story. Approx. 112 min. DCP restoration.




“It's one of Alfred Hitchcock's inspired audience-participation films: watching it, you feel titillated, horrified, and, ultimately, purged.”
– Michael Sragow, New Yorker

"Of all Hitchcock's films, this is the one which most reveals the man... There is suspense enough, of course, but the important thing is the way that it is filmed: the camera never strays from inside Stewart's apartment, and every shot is closely aligned with his point of view. And what this relentless monomaniac witnesses is everyone's dirty linen: suicide, broken dreams, and cheap death. Quite aside from the violation of intimacy, which is shocking enough, Hitchcock has nowhere else come so close to pure misanthropy, nor given us so disturbing a definition of what it is to watch the 'silent film' of other people's lives, whether across a courtyard or up on a screen."
– TIme Out (London)

"In an impressive oeuvre, Rear Window is arguably the most exquisitely handcrafted feature, because Hitchcock mastered the spatial as well as behavioral coordinates of his chosen universe inch by inch."
– Jonathan Rosenbaum

"A blatantly conceptual movie, self-reflexively concerned with voyeurism and movie history, the bridge from Soviet montage to Andy Warhol's vacant stare, as well as a construction founded on the 20th-century idea of the metropolis as spectacle—or, more specifically, on the peculiar mixture of isolation and overstimulation the big city affords. Reveling in the simultaneity of the 8 million stories in the Naked City, Rear Window is the slyly alienated precursor of multiple narratives like Short Cuts or Magnolia."
– J. Hoberman