>> For me, Rear Window is a is a canonic movie. It's a fantastic kind of critical perspective on cinema itself. It's a film about cinema going or cinema, being part of an audience in a dark room being a spectator. Watching a movie on a big screen, being part of an audience, being the spectator. Actually, I think that is the core topic team of the film seeing not seeing, being part of a cinema audience, being a spectator. Of course, there is a story in the movie. It's a story about Jeff and Jeff is a journalist, photographer and he stuck to a wheelchair, because he has broken his leg. He's in his apartment in New York and he has nothing to do. And the only thing he can do is to watch outside his window and he becomes kind of obsessed with what he sees. And what he sees is, it's really very interesting. The storytelling is really fascinating. So we see all these little lives of the neighbors as a kind of tableau vivant. And as an audience, we see through the eyes or through the point of view of Jeff and maybe I will give some spoilers. But what we see is that Jeff gives an interpretation of what he sees and he gets his nurse, and his girlfriend involved in his interpretations. So that is the story. But on another level, it's of course, also about Jeff, his perspective, his point of view, his fear. Because he has a girlfriend, but he has a fear of commitment to his girlfriend. So that is also another level to the film. But if you would ask me what is the essence of the film? It's about watching, seeing, not seeing and about giving interpretation as an audience, as a spectator of cinema. >> So it's a kind of matter movie? >> I would say so, yes, it's a film from from the early 50s and it's so well-narrated. It's so well with a sound, with perspective point of view. It's s so well-told. It's really a brilliant film in reference to the doubt your experience as an audience and you shift, I think as a spectator in between a shift standpoint or maybe being a little bit critical towards his standpoint. But then because of the way as other characters, you really get dragged into the perspective of Jeff as an audience as well. So that is really well told and what is also very brilliant is the sound and the score. So everything you would naturally or realistically here in the movie, you hear the rain, noises. I mean, this is a kind of extra in this element of interpretation and being dragged into the perspective of Jeff also due to the way the sound is used. Because if you see that it's rains or Jeff sees that it rains and you as an audience also hear and the drops of rain, then you probably will be dragged into the perspective of Jeff. So yeah, it's brilliantly made. >> And the music that is played in one of the apartments. >> Yeah, the composer. Yeah, and then the score about a love and a lost love and the difficulties of the composer composing a new song. It's also linked to this fear of Jeff, I think about the commitment with his girlfriend. So his girlfriend, brilliant Grace Kelly wants to marry him. Well, he sort of his reluctant to to go on this adventure, I think and he has a fear of commitment of this relationship, I guess. And I think what he sees in these little lives or the tableau vivant of the neighbors is what could be going wrong when you marry someone and what is very well told in the film is the fear of Jeff, and the adventure to commit himself to marrying his girlfriend. And he rephrase it, I think in the movie. He says something about she's too perfect. So it's also I think about the fear of unable, being not able to commit with someone who is too perfect. I think that is also a team, which is important. And what what is also a time document in a sense is that she as a woman wants a commitment, wants a family, wants to tame this adventure and he is an adventure. And these are quite cut very classical generals of that time. He can be the adventure and go to all parts of the world being a photographer, and engage in all kinds of adventures. But what the only way she can take is longing for a good marriage, longing for a family. So that is also something which is quite important in the movie, but there is this little twist in the end, because she turns to be quite adventures as well. Because in the end, she is the one who goes fearless looking into breaking into the apartment of one of the neighbors. So there is this little twist towards her character in the end. But it's also if you would make an analysis or you would use a gender perspective into the film there, there's a lot going on also in all these little lives of the neighbors as well. And you have a woman who is really lonely and has this fantasy about being and we as an audience, I think she she is has a fantasy of a man. We tend to think that there is this fantasy guy who is not there, but she has this conversation with this invisible man. But it could also be a woman, but we are dragged into this idea that it's heterosexual relationship. That a woman is only a whole woman if she has a relationship, if she is married. She can give meaning to her life when she is married, when she has children and so forth. We have also Miss Torso, the ballerina who has these little flings with men, but keep them up distance until Mr. Right guy happens to be there which is not a handsome guy where she bonds and there you could imagine that in the end. She will end up with this guy in a marriage. So the only possible option a woman has is to become engaged to marry and to become also part of the point of view of Jeff. Most of the Hitchcock movies are quite conservative in a way they portrayed women and generals. On the other hand, I think it has to do with the document of of certain timeframe era that you also could interpreted quite critically. So the way he deals Hitchcock, he deals with the portrayal of women is fits in the timeframe when the films were made, but also confront us with a very classical idea of gender. But at the same time, because it's sort of elaborated stress in the films, it also becomes a team and you could also give it quite critical interpretation as well as in Rear Window. And you could say, okay, Lisa, the only way she can be is to be the wife of Jeff or to be dragged into his point of view. But on the other hand, the way that she is pulled into that we see his struggle on the idea of marriage and that could also be interpreted as questioning those rules as such.
