Rear Window (1954)
Directed by Alfred Hitchcock
A wheelchair-bound photographer spies on his neighbors from his apartment window and becomes convinced one of them has committed murder.
66 connections found
View:
66 connections, in both directions
What critics compared Rear Window to
Having watched a number of martial arts and horror films recently, I have sadly been exposed to both, albeit in the (perhaps) excusable context of old school grindhouse flicks, so by the time yours truly arrived at a screening for the new Rear Window ripoff -- excuse me, homage -- Disturbia I'd all but completely lost patience for either telegraphed punches or teenagers with too much time and too little sense.Unfortunately, Disturbia stars a teenager -- Shia LeBeouf -- who seems to have no shortage whatsoever of good sense, so the only mystery that remains in this catalogue of fright-film clich?s is why he accepted the role.
In a modern reworking of Rear Window , troubled teenager Kale (Shia LaBeouf) blames himself for his father's death; his behavior lands him under house arrest for the summer.
Resembling, without copying, the voyeuristic storyline of Hitchcockâs Rear Window, Disturbia also brings to mind other techno-thrillers like Coppolaâs The Conversation or fear-of-neighbors comedies like Joe Danteâs The âburbs.
A contemporary remake of Alfred Hitchcock's Rear Window, the film is likewise witty and intelligent — that is, until the final act, when it eschews the tension of an unreliable point of view for modern horror elements.
" Disturbia " is a low-cal version of " Rear Window ."
The teen thriller "Disturbia," in which a housebound voyeur stumbles upon a possible murderer across the way, is basically an uncredited remake of the 1954 Alfred Hitchcock classic "Rear Window" (which was in turn based on a 1942 Cornell Woolrich story).
Director Robert Zemeckis has called What Lies Beneath his "Hitchcock" picture, and if we accept that increasingly preposterous notion, the picture most called to mind by the film's first hour is not Rear Window, despite superficial plot similarities, but The Birds.
As the story unwinds, there are various tributes to Stanley Kubrick’s The Shining and Alfred Hitchcock’s Rear Window, but Zemeckis wrings the suspense so skillfully from Clark Gregg’s restrained script that his obvious nods to the greats are easily forgiven.
Just look at the major Hollywood releases this summer: First "Mission: Impossible 2" borrows a plot from "Notorious," then "X-Men" takes a Statue of Liberty climax from "Saboteur," and finally we have Robert Zemeckisâ "What Lies Beneath," which cribs from so many Hitchcock thrillers itâs impossible to mention them all, but the chief victims are "Rear Window," "Rebecca," and "Suspicion."
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes, unapologetically pilfering from the Master's "Rear Window" and "Psycho," among others.
Alfred Hitchcock was very good at directing this kind of movie, where a nosy neighbor gets involved in someone else's business ("Rear Window").
It features the voyeuristic neighbor from Rear Window, the unsettling bathroom from Psycho, even an icy blonde in the form of Michelle Pfeiffer.
The story is an exercise in techno-paranoia, which is always fun, with echoes of such genre classics as Coppola's The Conversation , De Palma's Blow Out , and Antonioni's Blowup , along with grateful nods to Alfred Hitchcock's Rear Window .
What Movies Will It Remind You Of?: Hitchcock is a clear reference point here, from the apartment-on-high views of Rear Window to the psychological angles of Shadow of a Doubt and Spellbound .
It certainly is built as an ordinary genre piece — so ordinary you’ll be reminded of other paranoid suspense films during the whole eighty-nine-minute running time, starting with Alfred Hitchcock’s Rear Window (1954) and carrying on through countless descendants to 2021’s The Woman in the Window .
It borrows familiar elements of voyeurism from Rear Window (1954) and combines them with the paranoia and omnipresent recording of The Conversation (1974) and Blow Out (1981), and it reinvigorates these ideas.
The setting of a confined apartment and sense of voyeurism will bring up parallels with Alfred Hitchcock’s Rear Window (1954).
With “Kimi,” Soderbergh pays homage to Hitchcock (in particular “Rear Window”) and the 1974 classic “The Conversation” in a lean, no-frills psychological thriller featuring some of the finest work in Zoë Kravitz’s career.
Now to be fair, “The Woman in the Window” is hardly the first project to come along with a premise clearly inspired by Alfred Hitchcock’s 1954 classic “Rear Window”—hell, I even remember it serving as the inspiration for an episode of “Kate & Allie” back in the day—but I cannot rightly remember a film that has done so little with the concept.
In its opening moments, it borrows the foreboding tracking shots and moody lighting of David Fincher thrillers, and a scene from Rear Window playing on a television telegraphs its obvious inspiration from the Alfred Hitchcock classic.
One of the obvious touchstones for The Woman in the Window is Rear Window , which director Joe Wright (of Atonement and Darkest Hour ) embraces to the point of styling his film like a Hitchcock pastiche, with a lurid palette and homages in framing.
Based on the novel of the same name by A.J. Finn, The Woman in the Window is undeniably indebted to similar cinematic and literary touchstones, ranging from Alfred Hitchcock’s Rear Window (itself an adaptation of the short story “It Had to Be Murder”) to the 1995 thriller Copycat.
Any reference to Alfred Hitchcock’s Rear Window is strictly intentional: early on we catch a glimpse of James Stewart’s face, in all its neurotic postwar glory, on Anna’s TV screen.
Clearly inspired by the works of Alfred Hitchcock, most notably “Rear Window,” this stagey, clunky production is set almost entirely in and around the New York City apartment of Dr. Anna Fox (Adams), a psychologist with agoraphobia who is separated from her husband (Anthony Mackie) and daughter and seems to be suffering from paranoid delusions brought on by a dangerous mixture of meds and alcohol.
Advertisement
I’d like to end by saying that this is a bit of an underrated film that holds up solid to the test of time with its obvious similarities to Alfred Hitchcock’s film Rear Window (1954) that played as some inspiration.
Eventually, Franklin had the idea that the killer wouldn’t be the truck driver, but the driver would be the witness to a series of murders committed by someone out there, in the vein of Alfred Hitchcock’s Rear Window .
Road Games is inspired largely by the works of Alfred Hitchcock, in particular, the brilliant Rear Window .
The parallels between this film and Hitchcock’s Rear Window are undeniable and director Richard Franklin even stated that he wanted to make Rear Window on the road.
If you’ve seen 1954’s REAR WINDOW, there can be no doubt which Hitchcock movie Franklin and De Roche have taken as inspiration.REAR WINDOW is also a film about a hero stuck in an enclosed space, who catches wind of a crime and is deemed crazy by the authorities, leaving him to take matters into his own hands.
What cements Roadgames‘ Hitchcockian overtones, though, is the way Franklin borrows the basic premise of Rear Window (1954), replacing its apartment block window setting with the windscreen of a truck.
Chafing at the then-widespread complaints that he was just a misogynistic Hitchcock knock-off obsessed with graphic violence and nudity, De Palma concocted this hilarious mash-up of “Rear Window” and “Vertigo” that just so happens to be chock full of graphic violence and nudity.
At first, he seems to be doing Stewart in "Rear Window".
In sequences inspired by " Rear Window ," he begins to follow the woman (Deborah Shelton), but he keeps his distance because he's caught in the same dilemma as James Stewart was in the Hitchcock picture: He is, after all, technically a Peeping Tom, and he wouldn't know the woman was in danger if he hadn't been breaking the law.
Just as De Palma's excellent Dressed to Kill was an homage-or-rip-off-take-your-pick of Hitchcock's Psycho, Body Double uses both The Master's Vertigo and Rear Window as its twin starting points and then wanders off in its own delirious direction.
This time out, he most explicitly references a trio of Hitch�s films (Vertigo, Rear Window, and Psycho) that he had previously paid extensive tribute to with better end results (most notably in Obsession, Sisters, Dressed to Kill).
Body Double is another sexed-up Hitchcockian thriller from Brian De Palma that really took a beating from most critics when it opened in the fall of 1984 -- I guess audiences (and critics) in '84 just weren't ready for a movie that borrowed from classic Hitchcock thrillers (Vertigo and Rear Window in particular) containing porn stars and driller killers.
It does, however, often recall the bizarre surrealism of David Lynch or Terry Gilliam’s “Brazil,” and even overtly references Alfred Hitchcock’s “Rear Window” and David Fincher’s “Fight Club.”
Ayoade’s treatment of the material is boldly stylized, with aesthetic nods to directors as varied as Terry Gilliam and Jean-Pierre Jeunet to Alfred Hitchcock – from whose Rear Window the film borrows heavily in constructing Simon’s unrequited romance with Hannah.
In the film, we watch Simon James (Jesse Eisenberg, whose deep-set cheeks and geometric frame recall an Edward Hopper figure) spying on Hannah (Mia Wasikowska, ostensibly lamblike, though her fierce side rears its head) from his apartment window through a phallic telescope à la Rear Window .
Like Jimmy Stewart in Rear Window, Simon’s voyeurism is a product of his immobility: not of a physical crippling as in Hitchcock’s picture, but of an emotional-existential hobbling.
There’s a cocktail of loneliness and voyeurism a la Rear Window for Eisenberg’s Simon.
For one thing, Simon's voyeurism is straight from Rear Window.
That gives you some idea of "Femme Fatale's" knotted heritage, and it gets worse, with homages to Hitchcock's "Rear Window" battling homages to his own "Obsession."
Rebecca Romijn-Stamos' role is much like the heroines in "Vertigo" and "Rear Window," except for the so-called arty sex and nude scenes.
Forced by financial strain, Nicolas sells his stolen snap, then finds himself spying on Lily/Laure through a camera lens a la Jimmy Steward in "Rear Window."
The compulsion to watch is why De Palma keeps returning to "Vertigo" and "Rear Window," and it accounts for the very quality of his bristling style -- the propulsive camerawork, the ostentatious cutting, even the way he grabs our attention as if he were grabbing our throats, trying to force us to see what he sees.
With Femme Fatale, De Palma references his past obsessions Nicholas voyeuristic photography is yet another homage to Rear Window , Laures assumption of a new identity and Nicholas following her around winks at Vertigo and this time around, De Palma even makes an odd nod to Its a Wonderful Life .
Advertisement
Based on the novel "Waltz Into Darkness" by Cornell Woolrich (who also wrote "Phantom Lady" and the short story that inspired "Rear Window"), the film is presumably supposed to be a steamy erotic thriller about a man so in love with a woman that his judgment about her is clouded, thus potentially endangering his life.
Original Sin is based upon Cornell Woolrich's (Rear Window) novel, Waltz Into Darkness, which Francois Truffaut adapted in 1969 and titled Mississippi Mermaid.
"Original Sin" has a pedigree: It is based on the book by the ingenious crime writer Cornell Woolrich ("Rear Window") that inspired Francois Truffaut's "Mississippi Mermaid."
Original Sin is based on a novel by the late Cornell Woolrich, who wrote the story that inspired Alfred Hitchcock's masterful Rear Window.
The ending of In the House is blatant homage to Rear Window (1954).
Their enthusiasm for the way the boy builds a Rear Window narrative grows headier with each chapter of what they feel has the potential to be a great coming-of-age novel.
Adapted by the director from Juan Mayorga's play The Boy in the Last Row, In the House amounts to an insinuating mash-up of Election, Rear Window and Adaptation.
By the end, “In the House” becomes a remodeled “ Rear Window .”
To a plot with shades of Rear Window, Ozon has added class tensions and some clever asides on the sacrifices and responsibilities of art.
He’s also paying homage to Alfred Hitchock’s masterpiece of Peeping Tomism, Rear Window (1954), by concluding the movie with two characters peering into the back of a lit apartment building, where, in one unit, murders are taking place.