Showing posts with label Lars Thorwald. Show all posts
Showing posts with label Lars Thorwald. Show all posts

Friday, August 27, 2010

Rear Window

Rear Window by Alfred Hitchcock
Based on the story by Cornell Woolrich
Release Date: August 1st, 1954
Starring: James Stewart, Grace Kelly, Raymond Burr
Rating: ★★★★★
To Buy
L.B. Jeffries is on the last week of his cast confinement after stepping into the middle of a race track to get the best shot. He's itching to get on assignment and get his lens back in the loop. Also it will be nice to get away from Stella, his nurse, who keeps trying to persuade him that perhaps a nice quiet life settled down to his socialite girlfriend, Lisa Carol Fremont, is just what the doctor ordered. For a man who craves excitement, watching the lovely, lanky, Miss Torso dance about and entertain gentlemen callers can only keep you diverted for so long. The lives of his neighbors, while interesting, lack mystery... until Lars Thorwald takes away many suitcases in the middle of the night and then ties up a large steamer trunk with heavy rope. Instantly sure of foul play it doesn't take long to convince Lisa and Stella as well, even if the police aren't convinced. Soon they are climbing fire escapes and digging up flower beds in Jeff's stead, as he nervously watches from his confining wheelchair. But will a man who has most likely killed his wife and a poor defenseless dog stop at just the two murders? Or will there be more to follow?

This movie is sheer perfection. The dark sense of humor coupled with voyeuristic tendencies is my nirvana. This is easily one of my favorite movies Hitchcock did. Not just the story but the setting. This little microcosm we see where these people are all aware of each others lives but don't interact. We all wonder what our neighbors are up to and here we have a worst case scenario. You also have to ask, if you saw what Jeff saw, would you react the same? Would you try to catch this man or would you just wait for him to leave and forget all about it. Plus, as many reviewers have noted, the struggle in the relationship between Jeff and Lisa is played out in all the windows. There are the newlyweds, Miss Lonelyhearts, the musician, one thing different and that could be Jeff or Lisa's future. There really is no way for me to elaborate more on this film. I've loved it for so long, I will also admit, I built a little shrine to it... backstory on shrine, in high school, we had to do a project on the concept of "windows" and I decided to depict the world outside Jeff's window, so yeah, little obsessed, and don't listen to my friends who said I had "brick" issues... so yes, shrine. I find it's hardest to talk and quantify that which you care for most, so just go watch this movie, the acting, the costumes, the story, it stands the test of time and repeat viewings and is a fitting movie to end the Hitchcock Hoot'nanny on!

Wednesday, August 25, 2010

Book Review - Cornell Woolrich's It Had to Be Murder

Rear Window and Other Stories by Cornell Woolrich
Published by: Penguin
Publication Date: 1950
Format: Paperback, 176 Pages
Rating: ★★ (Rear Window aka It Had to Be Murder only)
Out of Print

Hal Jeffries has never been one for reading. So when he's laid up in his swelteringly small apartment he doesn't have the solace of books to turn to, instead he turns to his window and the lives of his neighbors. He becomes fascinated with their routines. The young newlyweds who stay out every night who always forget to turn out the light and come rushing back five minutes later to turn it off. The young mother who tarts herself up every night after tucking her son into bed. The devoted husband who waits on his ill wife. But why he keeps her shut up in that hot apartment while the building is under construction and never calls a doctor worries Jeff. But then again, those people and their worries are all he's got. One night the husband's behaviour strikes him as odd. He surveys the surrounding apartments not in the detached way of one under strain but in the highly observant way of a man who has something to hid from those around him. Soon little things start to pile up, curtains drawn, the man sleeping in the living room but never really succumbing to dreams, his glowing cigarette a reminder of his wakefulness. When Jeff realizes that the wife is no longer in residence he calls his friend Boyne who works homicide. There was no time that the wife could have left without him seeing so it has to be murder. But after a perfunctory check, it turns out the wife left town for her health and that's the end of that. Jeff knows that's not the whole story. He sends his manservant Sam over their to investigate this Lars Thorwald. Sam also comes up empty handed. Jeff decides that perhaps Lars can be baited into confessing... just a look would be enough for Jeff. He sends an anonymous note saying he knew what he did, followed with a phone call arranging a time and a place for the "exchange." Jeff thinking that if Thorwald is willing to pay a blackmailer then it's a sure sign of his guilt. But Jeff sees Thorwald leave for the assignation with a gun and he realizes that not only has this man killed once, but he's willing to kill again to cover up his first crime. Can Jeff save himself from Thorwald and prove to Boyne that it had to be murder all along?

It's very hard to find the suspense in a forty page short story. There's not much time for character development and therefore there is no real connection to the characters. It might have been purposeful, that our look into this world of Jeff's is just as sketchy as his glimpse into the world of his neighbors, but still, what Hitchcock later brought to this story was depth. The plot is surprisingly very similar to the film, with many of the same things happening. It's just that Hitchcock was able to give a pacing and a depth that Cornell Woolrich couldn't in those few short pages. We don't even know what Jeff's injury is till the last page and never learn more than his name. How can you feel for Jeff when Thorwald becomes a threat if you know nothing of Jeff. His death would be just another death, nothing traumatic to the reader, just a fact. That is what I feel this story is, just facts laid out one after the other. Some more substantial than others and then it's over. Jeff thinks it's murder, and murder it is. You don't share his journey of discovering, you don't watch with him, you're just told the facts. Perhaps it's just the bare writing style of the times, paring it down to grim, noir details, but I like a little substance in my literature and I love Hitchcock's Rear Window, so perhaps there was no way I could fully get along with the story, but I think I've come to accept that, and we're good with each other.

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