Analysis of Pull Ring of Film-coated Rear Window

From the back window, the audience is placed in a peeping angle. The camera swept through the neighbor's window opposite Jefferies' house, then rolled into Jefferies' house, with a plaster on his leg, taking thrilling horse racing photos, and a smashed camera on the table. Everything shook in the camera for a few minutes, and all the characters' backgrounds were briefly explained. This simple and clear way of opening has since become a model for countless movies. Such as street angels, big players, snake eyes and so on. The panoramic view of the apartment across the street appears many times in the film. Every window seems to be performing a Broadway play, and the plot is constantly changing, making the film not only a thriller or suspense, but also a street painting.

The story of the back window is very small and ordinary, unlike Hollywood action movies and suspense movies that often save the world. The protagonist of this movie is just an ordinary person-a photographer who is recovering from injuries, a man who is worried about marriage and love, and a normal person who likes to sit by the window and observe the life of his neighbors. In today's American blockbusters, it is not an unusual or abnormal task. A large number of subjective shots give the audience a great sense of substitution. The plot unfolds in a quiet way, without the popular gimmicks of horror movies and suspense movies. But the more life-oriented crime, the more silent killing, the more frightening, and the more people feel the dark side of the real society-bloody murder may happen around you.

The protagonist's broken leg is the cause and effect of the movie plot, which is an extremely ingenious arrangement. Even if the plot is rationalized, it adds a sense of tension at the end, making the whole movie look unique, and finally makes a little humor on the broken leg. The most pleasing scene is the one arranged by Hitchcock. From the window of the protagonist's apartment, every family across the street looks like a Broadway stage, in which all kinds of life are displayed. The more movies you watch, the more difficult it is to make social life vivid, but Hitchcock, the "master of tension", has done it easily.

Now more and more people realize that he is not only a movie master, but also an out-and-out psychologist. This is not only because he has made some wonderful psychoanalytic films such as the Spellbound (Dr. Edward), but also because he has made accurate psychological inferences about the characters in the film, mainly because he is familiar with the psychology of the audience and the fear and curiosity hidden in everyone's heart. "Rear Window" also pushed Hitchcock's common theme "Peeping" to the extreme. He obviously thinks that everyone-every normal person has a desire to peep into other people's privacy. On the surface, movies like this don't have exciting and fierce fights, and they don't deliberately arrange lame suspense details, but after watching them, you will always remember the murder and dismemberment of your neighbor's wife, which is caused by Hitchcock's deep understanding of the audience's psychology.

Of course, some critics believe that the rear window is related to the "McCarthyism era" during the filming period. The dog owner in the film asked loudly, "Who killed the puppy? ! "-this is clearly pointed out that murder also existed at that time. The scene of the film is similar to that in a circular prison monitoring center, symbolizing the strong feeling that one person was watching and others were isolated from each other. Of course, Hitchcock never talks about the so-called social significance in his works, and even hates politics-but in fact, he can't help revealing some realistic contents-whether it is the eve of World War II, the period of World War II, the Cold War or the era of living in the back window.

Worship of Woollich, the original novelist of this film. This is the original author of several films by French new wave master Truffaut, such as La Marie Etaiten Noir and La Sirene du Mississippi. Almost all the shots outside the window are taken from the subjective angle of the protagonist. Except for one thing, when people find the puppy killed by the murderer. This is related to Hitchcock's habit of loving dogs like life. At the same time, the cooperation between the actors and crew of this film is the most harmonious among all Hitchcock films. Hitchcock once said kindly to james stewart, "An actor is at least a pawn in the director's hand, if not an animal."