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  1. en.wikipedia.org › wiki › Rear_WindowRear Window - Wikipedia

    Rear Window is a 1954 American mystery horror film directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrich's 1942 short story It Had to Be Murder. Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr.

  2. Mystery Thriller. A wheelchair-bound photographer spies on his neighbors from his Greenwich Village courtyard apartment window and, despite the skepticism of his fashion-model girlfriend, becomes convinced one of them has committed murder. Director. Alfred Hitchcock.

    • (526K)
    • Mystery, Thriller
    • Alfred Hitchcock
    • 1954-09-01
  3. A famous photographer (James Stewart) spies on his neighbors from his wheelchair and suspects a murder. Roger Ebert analyzes the film's themes, techniques and performances in this classic movie review.

  4. www.rottentomatoes.com › m › 1017289-rear_windowRear Window | Rotten Tomatoes

    A newspaper photographer with a broken leg passes time recuperating by observing his neighbors through his window. He sees what he believes to be a murder, and decides to solve the crime himself.

    • (130)
    • Alfred Hitchcock
    • PG
    • James Stewart
    • rear window hitchcock1
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  5. Jun 27, 2024 · Rear Window, American thriller film, released in 1954, that is considered one of Alfred Hitchcock’s most suspenseful movies. It starred Hitchcock favourites James Stewart and Grace Kelly. Stewart played L.B. Jeffries, a photographer who is confined to a wheelchair while recuperating from a broken.

    • Lee Pfeiffer
  6. A wheelchair-bound photographer spies on his neighbors from his apartment window and suspects one of them has murdered his wife. IMDb provides summaries, cast and crew, user reviews, trivia, and FAQ for this classic Hitchcock thriller.

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  8. Hitchcock traps us right from the first. As his hero, Jimmy Stewart, idly picks up a camera with a telephoto lens and begins to scan the open windows on the other side of the courtyard, we look too. And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride.

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