The Firelight Shocks DVD Review Section

Rear Window Distributor: Universal Region: 1 Ratio: 1.66.1 (Anamorphically Enhanced) Sound: Dolby Digital 5.1

So how do you begin to describe a classic? A film that has had volumes written about it and which will be forever remembered as one of the exemplary works of cinema? A movie that will go down in history as one of the greatest ever made? I am faced with this problem upon discussing Rear Window, a movie so legendary that it barely needs introducing. You know - a lot of other 'horror' pages seem to bypass these truly classic works, seeming to forget that without Hitchcock the contemporary horror genre probably would not even exist. Certainly - filmmaking would be very different without the great man's pioneering talents, and ability to visually captivate an audience with a strong story and brilliant character development. However, for those sites who cannot see any worth in this genre beyond cannibals flicks - well, I say good luck to them. They wouldn't appreciate this work of unfettered genius anyway. Released in 1954, an eventful year for Hitchcock, and starring James Stewart and the lovely Grace Kelly (who has also appeared in 1954's excellent Dial M For Murder), Rear Window is shot entirely on one stage. This might sound limited but it is most certainly not: Hitchcock consistently puts us in the situation of the wheelchair ridden Stewart (playing professional photographer J.B. Jeffries - who has been injured on assignment), who sits spying on his neighbours in the apartment opposite. 'I wonder if it's ethical to watch a man with binoculars and a wide focus lens' Stewart asks Kelly at one pivotal moment in the film. The reason for asking this? Stewart is convinced that one of his neighbours (played by the intimidating Raymond Burr) has murdered his wife. Stewart begins to obsess over the possibility of a murder and even his posh socialite girlfriend (Grace Kelly) begins to show interest, as does Stewart's maid (the wonderful Thelma Ritter). One of Stewart's colleagues, meanwhile, begins to think that his friend is imagining things. However, in order to gain proof of Burr's guilt, Kelly decides to break into Burr's apartment. The scene in which she is caught, red handed, by Burr (who returns home unexpectedly) - Stewart and Ritter looking on helpless from the adjacent apartment - is one of the most notorious and suspenseful pieces of celluloid you'll ever see. Believe me, you'll want to watch this scene through your fingers! Hitchcock builds up the tension brilliantly in this film, the last twenty minutes in particular are just incredible, and the characters that live across from Stewart are nothing short of endearing. From an attractive ballerina to the heartbreaking 'Mrs Lonely Hearts' - each personality that lives opposite Stewart makes for compulsive viewing. Moreover, the scene in which a neighbour's loveable little dog (who keeps digging at a garden where evidence against Burr is obviously hidden) is found murdered shows Hitchcock at his darkest. Rear Window also has a great sense of humour - especially in relation to Stewart's unlikely refusal of Grace Kelly's advances. I mean, who wouldn't want to marry Kelly? One of the most beautiful creatures to have ever graced a cinema screen... In case you have not gathered, this is an incredible film and a justifiable classic. The acting, camerawork and level of suspense are just brilliant and there is really nothing to fault in this movie. It is simply a masterpiece of the highest order and it should prove of interest to any modern horror fan that wants to see why Hitchcock carries the warranted reputation as being the greatest filmmaker that ever lived. Moreover, the air of voyeurism is handed with great intelligence and in today's world of Big Brother, this film is needed more than ever. As Grace Kelly says to Stewart about their 'rear window ethics' (as she calls it): 'We're two of the most frightening ghouls I've ever known'. Well... be honest, you would be disappointed if Stewart was wrong and no murder had been committed. Wouldn't you?

EXTRAS: A round of applause, first of all, for Robert A. Harris and James C. Katz, who have been remastering, and in some cases restoring, a selection of Hitchcock's classics. Their work is exemplary, as can be seen from the outstanding picture quality of Rear Window and the fantastic soundtrack. Indeed, whatever these guys were paid it was not enough... the film looks and sound better than most new blockbusters! Lacking only an audio commentary, Rear Window has some interesting extras - the best of these is the fifty minute documentary Rear Window Ethics, which features contributions from such filmmakers as Peter Bogdanovich (the man behind the classic The Last Picture Show) and Curtic Harrington (LA Confidential). Both men, alongside a selection of others, talk about the movie's importance and the brilliance of the late British director. Also on this disc is a twelve minute chat with the screenwriter of Rear Window, John Michael Hayes. I must admit that I was a little bit confused as to why he never contributed to a commentary track - but there must be some reason. On top of this, you also get a gallery of production photographs, the original theatrical trailer and the excellent re-release trailer (actually advertising the return of five Hitchcock films) narrated by James Stewart. On this trailer, Stewart admits that Rear Window is his favourite Hitchcock movie. The only other extra is some production notes and a few biographies for the cast and filmmakers. However, if you have a DVD-ROM you can access the original script. Rear Window has now been released on an identical region 2 disc so you now have no excuse not to pick this film up. It really is something else. An incredible disc release for an incredible film.