Un fotografo in una sedia a rotelle spia i vicini di casa dalla finestra del suo apppartamento, e si convince che uno di essi sia un assassino.Un fotografo in una sedia a rotelle spia i vicini di casa dalla finestra del suo apppartamento, e si convince che uno di essi sia un assassino.Un fotografo in una sedia a rotelle spia i vicini di casa dalla finestra del suo apppartamento, e si convince che uno di essi sia un assassino.
- Candidato a 4 Oscar
- 6 vittorie e 13 candidature totali
Jerry Antes
- Dancer with Miss Torso
- (non citato nei titoli originali)
Barbara Bailey
- Choreographer with Miss Torso
- (non citato nei titoli originali)
Benny Bartlett
- Man with Miss Torso
- (non citato nei titoli originali)
Nick Borgani
- Minor Role
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizThe film negative was damaged considerably as a result of color dye fading as early as the 1960s. Nearly all of the yellow image dyes had faded. Despite fears that the film had been irrevocably damaged, preservation experts were able to restore the film nearly to its original coloration.
- BlooperAfter Lisa sees Thorwald tie up the trunk and the camera dollies forward to a close up, there are creaks from the floorboards and footsteps heard from the camera crew.
- Citazioni
Stella: How much do we need to bail Lisa from jail?
L.B. Jefferies: Well, this is first offense burglary, that's about $250. I have $127.
Stella: Lisa's handbag. Uh... 50 cents. I got $20 or so in my purse.
L.B. Jefferies: And what about the rest?
Stella: When those cops at the station see Lisa, they'll even contribute.
- Curiosità sui creditiThe film is bookended with the opening and closing of window blinds across Jeff's rear window.
The opening titles appear on the former, and the Paramount logo appears on the latter.
- Versioni alternativeThe film has been fully restored from original negatives in 1998 and a new negative has been created that resembles the original color scheme of the film. However, the first kissing scene had to be restored digitally because the source elements were in bad condition.
- ConnessioniEdited into Alfred Hitchcock: The Art of Making Movies (1990)
Recensione in evidenza
The Master In Control
Alfred Hitchcock's Rear Window, wittily written by John Michael Hayes, is one of his many films I think of as much of a technical exercise as anything else. It is in this sense like his silent The Lodger, the static, confined Lifeboat, and the cut-less, one set Rope. Considered in this light it is a cold masterpiece, playing more with the audience's thoughts and fears than with its softer, more personal emotions. As such, it is a very cerebral and satisfying piece of work. The plot is deceptively simple: a photographer (James Stewart) is stuck indoors with his leg in a cast during a hot New York summer. His socialite girl-friend (Grace Kelly) is eager to marry him but Stewart has his doubts, since he lives a wandering life and is from a different social class. He spends most of his time idling about and playing with his camera. In time he becomes a voyeur (which he probably already is, to a degree) and begins to observe his neighbors' private lives, as he views them through his lens in the courtyard. He develops attitudes toward each of them, ranging from mild amusement to empathy to sexual interest, depending on who he's looking at. Without realizing it he is really looking at different aspects of either himself or his relationship with Kelly. The courtyard is a kind of mirror of his soul. These people and their predicaments represent different sides of his (and to a lesser extent Miss Kelly's) personality, offering glimpses of potential past, present and future selves; and it is not always a flattering picture. The newlyweds are continually having sex; Miss Torso is a beautiful young woman who entertains many suitors; there is a childless, somewhat pathetic-seeming middle-aged couple who dote over a pet dog; Miss Lonelyhearts is a depressed, aging spinster with no apparent friends; and the young, bachelor song-writer, when he isn't trying to compose songs, is either throwing parties or fits. Then there are the Thorwalds, a squabbling couple across the way. Stewart is at first only slightly interested in them until Mrs. Thorwald disappears and her husband starts going out at night carrying paper parcels that look like they came from a butcher shop. Soon Stewart is, understandably, suspicious. He convinces Kelly that something is amiss, but has trouble with his detective friend. His nurse Stella agrees that something is wrong across the courtyard, and the threesome become amateur detectives. Rear Window is great fun. It's a thriller, a romance, a mystery, and at times a comedy of manners. The actors all give superb, unflashy performances. Hitchcock had been making movies for three decades by the time he undertook this one, and he knew exactly what he was doing; everything happens as it should, on time, with no fuss or bother. The courtyard set is magnificently designed and photographed; it looks both artificial and realistic, and seems almost to change at times, as circumstances dictate. This is, after Dial M For Murder, Hitchcock's first truly 'fifties' film, which is to say it is a far cry from the genteel romances and spy stuff he'd been doing before. There's less use of atmosphere here, as a new, more independent director was emerging, decidedly post-Selznick, often using color. Hitchcock is playing a sort game of cinematic chess, moving people and things around here and there, changing camera angles slyly, never showing his hand. The film lacks only warmth. All sorts of learned books and articles have been written about this picture, some of them quite silly; all at least partly right. This is at times a profound film, but it also aims to entertain, it has a light touch, and it can be scary, it's romantic about couples and cynical about people. There's a little bit of everything in it,--it's a work of art.
D’aiuto•12355
- telegonus
- 8 apr 2001
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Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- Rear Window
- Luoghi delle riprese
- Stage 18, Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, Stati Uniti(Exterior court yard apartment complex)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 1.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 36.764.313 USD
- Lordo in tutto il mondo
- 37.040.788 USD
- Tempo di esecuzione1 ora 52 minuti
- Colore
- Proporzioni
- 1.37 : 1(original ratio)
- 1.66 : 1
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What is the streaming release date of La finestra sul cortile (1954) in Canada?
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