I better enjoy this while I can. Seems like one day this will be seriously frowned upon.
Look at that smile. When a smile like that occurs behind a telephoto lens it can only mean one thing. In Rear Window James Stewart spends quite a bit of time scanning his neighbors with the ole 400mm. And who does he soon see? Why, hot-bodied dancer Georgine Darcy across the courtyard doing kegels and glowing with sweat. Could you even make a movie character like Stewart's pervy photog sympathetic today? We doubt it. Everyone knows he'd be posting his shots on bigtitneighbors.com. Don't bother looking, by the way. We made that up.
Of course, if you watch the movie you realize there are nuances to Stewart's behavior. Main nuance: he's confined to a wheelchair and has nothing to do but stare out the window. Think of his situation this way. You know how you're waiting for someone in a restaurant and you keep watching the door? And there's a woman sitting between you and the door and you keep glancing at her too because you can't help it? And she's doing kegels and glowing with sweat? And you're shooting her with a long lens? That's totally okay, right? Um, it isn't? God, but these are slippery times.
James Stewart sees the sights without ever leaving his apartment.
Belgian movie posters are often quite beautiful. We've already shared frameworthy examples for Vanessa and A Thousand and One Nights, as well as a few others, and above you see a promo for Alfred Hitchcock's classic Rear Window. The movie premiered in 1954 and first played in Belgium today in 1955, where it was titled Fenêtre sur cour, which means “window on the courtyard.” The poster was printed by S.P.R.L. Belgique and the artist is Wik, someone who is simultaneously well represented in vintage poster circles while being a total mystery. We plan to dig around, see if we can find more info on this person.
Everyone has a favorite Hitchcock movie. Rear Window is ours. The story, the stars, and the look of the film are all great, and the idea of everyone's lives under a microscope foreshadows the world in which we live in today. Raised shades aren't needed, though—metadata tells corporations and governments more than a glance in a window ever could. In Rear Window, once Jimmy Stewart realizes he is able to spy, he does it even though he knows it's wrong, and once he suspects a crime has been committed, any sense of guilt disappears—instead he feels entitled to intrude. Maybe that's why today's digital spies always claim to be ferreting out crime—because they know most people will accept that as an excuse.
But you don't need us to analyze Rear Window. More qualified writers have gone over every frame of the film. Instead we've decided to show you below what Stewart was looking at, thanks to series of promo images we managed to locate. Thus you see, from top to bottom, the rear courtyard which encompasses the story, the newlyweds Rand Harper and Havis Davenport, the murder suspect Raymond Burr, Miss Torso played by Georgine Darcy, Miss Lonely Hearts played by Judith Evelyn, and Grace Kelly with sidekick Thelma Ritter digging for body parts in the garden. If you haven't seen the film, definitely watch it. You'll have fun.
She had a torso like no other.
And here's a photo to soothe any frayed nerves after our commentary in the previous post. You're looking at Georgine Darcy. She had a mildly successful career in show business, but only one role of hers really matters—Miss Torso from Alfred Hitchcock's top notch thriller Rear Window. If you haven't seen it don't be scared. Darcy is not nicknamed Miss Torso because she ends up dismembered or anything like that (no, that's a different character in the movie). Darcy is so named because James Stewart watches her dance, dress, flirt, and do other fun things with her perfect body. Yes, he's a voyeur, but he's wheelchair bound and bored. If it were us, we'd have no excuse at all.
When Hollywood fleshed out source material it often changed the flesh tones too.
Just a bit more on Rear Window today. The movie was based on Cornell Woolrich's story "It Had To Be Murder," which appeared in Dime Detective Magazine of February 1942. As might be expected story and film are substantially different. Lisa Fremont doesn't exist at all and neither does the insurance company nurse Stella. They were both derived from one character—a valet named Sam who does all the hard work while Jeffries watches from his wheelchair. The relationship between these two is warm, but with strong overtones of status and race, with Jeffries at one point showing his pleasure with Sam by saying, "Go and build yourself a great big two-story whisky punch; you’re as close to white as you’ll ever be."
Screenplay choices are always interesting, and we can see the addition of Grace Kelly's Fremont character making sense (though this being Hitchcock, he'd have put a blonde in the movie no matter what, since they represented a fantasy woman for him), but we wish Stella had been left out and Sam kept intact. We understand that changing Jeffries into a rogue photographer from a rich Manhattanite meant taking away his valet, but Sam could have been transformed into the insurance company employee. But that's just our opinion. You can decide for yourself by reading or downloading "It Had To Be Murder" yourself at this link. It's well worth the time.
The view from here is just about perfect.
Since we were talking about Rear Window yesterday, here's a shot of co-star Grace Kelly wearing one of the famed Edith Head designed dresses made for the movie. This is the most written about outfit from the film, the one Kelly tells Jimmy Stewart cost $1,100 dollars, which would be almost $10,000 in today's money. Her character quickly follows that up by saying it's a good thing she didn't have to pay for it (because she works in the fashion industry and gets free clothes). That was the clever solution to making Kelly as glamorous as possible, but without alienating the ticket-buying audience. Though this dress is nice, it's the green and white backless number she wears later that really sticks in the memory. Unfortunately, there are few good shots of that ensemble, and none showing her without the covering jacket. That may seem amazing, but Rear Window promo photos are somewhat rare. We have a couple of screenshots below, but if you want to see Kelly in action you'll just have to watch the movie.
San Francisco welcomes murder and mayhem for the fourteenth time.
San Francisco's Noir City Film Festival remains one of the best of its type in the U.S. Its fourteenth incarnation kicks off today in San Fran with Rear Window and The Public Eye. The first isn't a noir, but fits comfortably on the festival program; the second is a sort of noir, though a newer one, and is an inspired choice, in our opinion. We just wonder whether people who pay for two films noir will be happy with those two selections on opening night. In any case, we take a peek at both films below. Other offerings this year include the Bogart vehicles The Two Mrs. Carrolls and In a Lonely Place, Screaming Mimi, Corridor of Mirrors, The Dark Corner plus more than twenty other titles, and we'll be taking a look at some of these films throughout the next week.
Stewart violates the norms of neighborliness and ends up with a mystery on his hands.
Above are two iconic posters for Alfred Hitchcock’s Rear Window, 1954. This is a great movie, but definitively not a film noir—instead it’s a big Technicolor drama, bright and vibrant in a way movies aren’t today. It’s also only nominally a mystery, as the question is never who is the murder suspect, nor who is the murder victim, but whether there was actually a murder at all. This is one of Hitchcock’s greatest achievements, with James Stewart at his likeable best even as a voyeur, and Grace Kelly fueling the fantasies of male cinemagoers as the perfect girlfriend Lisa Fremont. Is the movie perfect? No. It fumbles its attempt to underline Stewart’s reckless nature, putting him in a wheelchair for the unbelievable act of running onto the middle of a Formula 1 track to get a photo. It also requires the audience to believe he can see all from his apartment, but his neighbors never notice him. Yet Rear Window overcomes those annoyances and is deservedly considered an all-time classic. Seeing it on the big screen as patrons of the Noir City Film Festival will tonight would be a treat, but see it in any case.
The headlines that mattered yesteryear.
1915—Claude Patents Neon Tube
French inventor Georges Claude patents the neon discharge tube, in which an inert gas is made to glow various colors through the introduction of an electrical current. His invention is immediately seized upon as a way to create eye catching advertising, and the neon sign
comes into existence to forever change the visual landscape of cities.
1937—Hughes Sets Air Record
Millionaire industrialist, film producer and aviator Howard Hughes sets a new air record by flying from Los Angeles, California to New York City in 7 hours, 28 minutes, 25 seconds. During his life he set multiple world air-speed records, for which he won many awards, including America's Congressional Gold Medal.
1967—Boston Strangler Convicted
Albert DeSalvo, the serial killer who became known as the Boston Strangler, is convicted of murder and other crimes and sentenced to life in prison. He serves initially in Bridgewater State Hospital, but he escapes and is recaptured. Afterward he is transferred to federal prison where six years later he is killed by an inmate or inmates unknown.
1950—The Great Brinks Robbery Occurs
In the U.S., eleven thieves steal more than $2 million from an armored car company's offices in Boston, Massachusetts. The skillful execution of the crime, with only a bare minimum of clues left at the scene, results in the robbery being billed as "the crime of the century." Despite this, all the members of the gang are later arrested.
1977—Gary Gilmore Is Executed
Convicted murderer Gary Gilmore is executed by a firing squad in Utah, ending a ten-year moratorium on Capital punishment in the United States. Gilmore's story is later turned into a 1979 novel entitled The Executioner's Song by Norman Mailer, and the book wins the Pulitzer Prize for literature.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.