There is a kind of perversity about the work, and the fact that, as some commentators had noted, the “murderer” suddenly turns the tables, crashing out of the frame to attack Jefferies for the invasion of his privacy, allows one easily to characterize Hitchcock’s film, like his later Vertigo, as a study in psychosis: that of character and audience alike. Jefferies/James Stewart), and about the way voyeurism plays a role in the making and watching of films themselves.
John Michael Hayes (writer), Alfred Hitchcock (director) Rear Window / 1954įor most of years since I first saw Alfred Hitchcock’s brilliant film, Rear Window, I had concluded - along with most of the commentators on that film - that the work was primarily about voyeurism, about a society of voyeurs, about a particular voyeur (L. She has had her adventure, but she can never truly return to the innocence, love, and protection of her childhood home again. In the awful last scene of this painful film, the young Charlie stands outside the church wherein her family and the community piously mourn the loss of her uncle, revealing her new social and metaphysical position.
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