Every man's ready to get married when the right girl comes along
Every man’s ready to get married when the right girl comes along

 

This week, I finally picked up a book that I bought myself more than a year ago: “Hitchcock” by Francois Truffaut. To say it’s a fascinating read is understating things (I’ve read over two hundred pages in two days).

Hitchcock’s films are a study in intricacy – nothing is left to chance – but yet there’s one quote on the page I just left off that cuts to the core of Hitch’s work:

“Nothing amuses me so much as understatement”

Take REAR WINDOW.

Were this film made by anyone else, a lot of what is there in the text would likely be played a lot nastier. We wouldn’t get caught up in the mystery, or be hoping that no harm comes to the nosey parkers in the middle of it. Instead, we would get creeped out, feel violated, and want to pull our shades a little lower. However, Hitchcock finds a way to tap into the curious cat in all of us. He makes us sympathize with James Stewart’s cooped up L.B. Jefferies, and makes us fret when Grace Kelly is in peril. And so with a deft hand and an attention to detail, we ignore the Peeping Tom stripes running through REAR WINDOW, and allow ourselves to get caught up in the mystery.

So when it comes to giving the game away, should we be surprised that Hitchcock likewise reaches for that sense of understatement?

It’s the simplest gesture, one designed to be a signal between two nosy neighbours across many yards, and one that hinges upon a tiny-yet-key piece of evidence. Lisa’s gesture behind her back is subtle enough that she can get away with it in a room full of strangers…but clear enough that Jeff can see it across the courtyard. Unravelling the plot could have taken pages of dialogue…dozens of shots…and two or three sets. However, with an eye for understatement, Hitchcock manages to tip the scales with one simple gesture.

Whats more, he finds a gesture elegant enough to pull off in front of a lot of people, but distinct enough to give the game away to the suspected killer. What’s more, the gesture also references something that Jeff and Lisa had mentioned more than once. So what we see as a signal and a catalyst is also a callback and a wink. It’s what propels the conclusion of this film and embodies what makes it work.

One shot. One gesture. Understatement.

Sometimes I wonder if most of us are capable of such understatement. If we can’t express our ideas wordlessly to the people who know us well without the aid of a text message. Maybe that’s why movies are getting longer and we’re asking for more and more details to be spelled out. We have a need to overstate things.

Pity more films can’t be more succinct…but then, that’s probably what made Hitch such a master.

Now if you’ll excuse me, I have another hundred and sixty pages to read.

 

 

Here’s three more from REAR WINDOW for the road…

 

rear window newlyweds

rear window note

rear window raymond burr

This series of posts is inspired by the “Hit Me With Your Best Shot” series at The Film Experience. Do check out all of the awesome entires in their series so far

14 Replies to “Freeze Frame: REAR WINDOW”

  1. So true of what made Hitchcock great. Also so true of what makes lots of films today feel bloated. We just keep stretching movies for no good reason. So many movies run two plus hours that could be improved if they were less than two hours.

    2. The funny thing is that I don’t mind length in a movie – but you’re right; too often that length is due to bloat more than it is due to intricacy.

      Maybe that’s what I loved so much about IDA last year; in and out in 80 minutes.

  2. Notice too how Hitchcock uses the grand scale of the movie cinema to engage his audience in the plot. In the scene where Jeff and Lisa are discovered by Thorwald to be watching him—the light from the screen reflects out onto the audience. As Jeff quickly wheels back in his wheelchair, and Lisa turns off the lights, we too, as the audience retreat into the darkness. Just a subtle cue, but one that makes voyeurs of the audience along with Jeff and Lisa. If you have a chance to see REAR WINDOW on the big screen, definitely do so!

    1. Hey Lena – Welcome back to The Matinee!

      That voyeuristic echo sure is in full effect with this movie. The tagline for it might as well have been “Do you like to watch?”

      That recoil is really disconcerting…it almost makes you wonder how comfortable we’d be watching the stories on-screen play out if the characters could call out that we’re watching?

      That’s what I love about the films that shake us as we play witness – they are the films that look back at us.

      Never seen REAR WINDOW on a big screen, but believe me – I’ll jump at the chance!

  3. Wow, a great post mate. Really reminds me that u really need to see more Hitchie films. That book you’re talking about sounds GOLD! Damn, I’m gonna have to hunt that down. It sounds incredible!!

    2. Heh, this post reminds me that -I- need to watch more Hitchie. Lol it read like I was telling you you haven’t seen enough yet. 😛 bloody touch screens!

      Thanks for the link mate!! Gonna get my hands on that for SURE. That 200 pages in two days statement reminds me of how I motored through the Bill Hicks biography. I expect this will be the same, especially as I watch more Hitchcock stuff.

      Cheers!

    3. Now at the same time, a lot of the credit for that pagecount comes from having a long gap on Wednesday to get some reading done. I’m not usually THAT fast. Still, pick it up and enjoy it…it’s always fascinating to read two filmmakers discuss their craft.

  4. Terrific post! I just watched this movie with my students. I love that wonderful scene where she gestures to him, behind her back, calling attention to the ring and we see that look of realization on Thorwald’s face. Hitchcock really was a master of his craft.

    1. So when I mentioned that the gesture references something Jeff and Lisa had brought up more than once? That’s brought up in the book.

      The ring’s placement provides a neat wink to the fact that she wants Jeff to marry her and he won’t ask. Such an elegant callback!

      I expect I’ll be rewatching this movie soon – along with many other Hitchcock films.

  5. Brilliant! You’re right about the subtlety, its just so satisfying. I think movies are getting longer because no ones wants to edit stories down. Some films need that length and aren’t given it whereas others are too indulgent. I love Rear Window, everything about it just screams genius.

    1. As if to double-down on Hitchcock’s use of subtlety and succinctness, I caught up with THE MAN WHO KNEW TOO MUCH this weekend…a film that’s a mere 76 minutes long and still slays.

      When Hitch was paring down a story, that “clunk”ing sound he kept hearing must have been his knife hitting bone.

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