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Rear Window (1954)

Picture 26

By the late ’40s, Alfred Hitchcock had made roughly 40 films, and like many great artists, he had become restless in his work. Yearning to stretch the boundaries of a medium he had so clearly mastered, he began what some would call his “experimental phase,” a creative flourish that produced Rope (1948), a film shot in ten long “single takes” to create the illusion of one continuous shot; Dial M for Murder (1954), which dabbled in a 3D technology that allowed Grace Kelly to lift a pair of scissors off the screen; even The Man Who Knew Too Much (1955), where he inserted a Doris Day musical number.

The greatest in this experimental period was, of course, Rear Window. Here, Hitchcock concocted his most original, most challenging concept yet: to create an entire film from one vantage point, the rear window of a Greenwich Village apartment, and in turn, symbolize the very movie-watching experience and director-viewer relationship that made him a legend. Continue reading

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