Rear Window by Alfred Hitchcock is a 1954 film primarily about proving a suspected murder, but the recurring motif of relationships is evident within the plot. The direction of the film revolves around Jeffries negative outlook on marriage.
The foundation of Jeffries suspicion of Mr. Thorwald is built upon Jeffries predisposition to believe marriages always end negatively. The individual stories seen through the windows in the courtyard are all a manifestation of Jeffries potential romantic futures. We emphasise with Jeffries relationship difficulties because we are manipulated throughout the movie to do so.
The foundation of Jeffries suspicion of Mr Thorwald is built upon his predisposition to believe relationships never end well. Throughout the film we are presented with an indication to Jeffries perception of Marriage. These, far from positives, outlooks influence Jeffries to assume that Mr Thorwald could not possibly have a peaceful separation with his wife, and that a murder must have been committed. This is demonstrated whilst discussing the future of Miss Lonely Hearts, Stella presents that she will some day find happiness in a man, and Jeffries rebuts by saying, ‘and that man will lose his [happiness]'. This gives us a glimpse into Jeffries mind. It is difficult for Jeffries to remain unbiased with a propensity to assume the worst in the Thorwalds relationship.
The individual stories seen through the windows in the courtyard are all a manifestation of Jeffries possible romantic futures. Hitchcock presents us with various scenarios of Jeffries relationship future. Each of them plays a role in the film whilst subtly providing a relationship guide for Jeffries. He is thinking about his future relationship with Lisa and what he should do. If he marries her, he could end up like the happily married couple or like the fighting Thorwalds. If he leaves Lisa he could end up like the successful bachelor, or like Miss Lonely Hearts.
Through the use of camera angles, we are shown to be looking down on Miss Lonely Hearts, making us feel like her position is worse than Jeff’s current position. At the same time, we are looking up on the bachelor, making us feel that the future he represents is better than Jeff’s. The recurring motif of relationships rears its head in many aspects of the film, especially through the windows.We emphasise with Jeffries relationship difficulties because we are manipulated throughout the movie to do so.
Through use of filmic devices, we are manipulated to empathise with Jeffries as if we were him. This makes us feel like we are him, and thus, we feel sorry for Jeffries. Using point of view Hitchcock places the camera angle through the eyes of Jeffries. The camera never leaves the room until the very end of the movie, and then it still follows Jeffries. Our empathy really takes effect in the scene when Lars discovers Lisa's signal to Jeffries and he stares at us.
Since the camera angle is looking through Jeffries eyes, we feel like we have been caught. Our empathy to Jeff’s situation, displayed through camera angles, makes us believe relationships can be difficult.It is evident, from the statements shown above, that the plot of Rear Window is driven by Jeffries negative outlook on marriage. The foundation of Jeffries suspicion of Mr. Thorwald is built upon Jeffries predisposition to believe marriages always end negatively. The individual stories seen through the windows in the courtyard are all a manifestation of Jeffries potential romantic futures.
We emphasise with Jeffries relationship difficulties because we are manipulated throughout the movie to do so. Filmic devices are used to communicate these themes more effectively to the viewer.
