Can a voyeur see his own life experience while watching the lives of others? In Rear Window, Alfred Hitchcock sets out to prove that L.B. Jeffries (Jimmy Stewart) does indeed peer into his own relationship with girlfriend/fiance socialite Lisa Carol Freemont(Grace Kelly) as he watches the lives of his neighbors through his rear window.
We see the ballerina as she practices her dance steps around her rooms which parallels with Jeffries own dancing around he does with Lisa as she tries to talk seriously to him about their relationship. He doesn't want to commit to marriage, and with a witty dialogue he outmaneuvers Lisa in the conversation. The ballerina entertains several men at once, the same as Jeffries work as photographer entertains many different subjects. He uses his line of work as an excuse for not being able to marry Lisa. She is not suitable for the rough environments that his work takes him. Although Ms. Torso entertains quite a bit, a soldier "comes home" and she greets him. He may represent the war that is going on between Jeffries and Lisa regarding marriage.
Then there is Ms. Lonelyheart who attempts to entertain an imaginary guest for dinner; this occurs at the same time Lisa is preparing dinner and wine for Jeffries but he is absorbed with his neighbor, and lifts a toast with Ms. Lonelyheart while ignoring Lisa. Ms. Lonelyheart eventually collapses in dismay at her failure to enjoy the evening. Jeffries and Lisa argue about their future or lack thereof. Later on in the film, Ms. Lonelyheart goes to dinner and brings home a young man. But when he tries to get fresh with her, she slaps him and makes him leave, collapsing again in tears. There is a sexual energy at play there across the terrace. There is distance between Jeffries and Lisa created by their different lifestyles, and each display a somewhat lonely appearance. Lisa shows frustration with Jeffries because their relationship is stagnant and not going anywhere. Jeffries is immobile and impotent. Lisa is all over New York City and and a whirlpool of sexual energy.
Now consider Mr. Composer. He composes a sad tune that reflects the sadness in the stalemate of the Jeffries/Lisa relationship. Then he entertains and the music is livlier and more festive. As Lisa joins Jeffries in solving the murder mystery they are more involved with each other; she becomes the sleuth that Jeffries needs, and their energy stimulates each other. There is excitement in the air!
The newlyweds enter their apartment in love as can be expected and close their blinds as they consummate the marriage. Eventually we see them quarrelling representing the future of marriage as Jeffries pictures it to be. Status Quo. So this may be a possibility for him and Lisa, but given her personality and character, highly unlikely. She's not your average woman.
The Thorwalds are the epitomy of the ruined marriage. The sickly, nagging wife, suspicious of the unfaithful husband, he carries out her murder and hides the body under the guise of sending her on a trip. Their relationship parallels with Jeffries pessimistic and unhealthy views of marriage. Lisa, on the other hand, confronts Mr. Thorwald, indicating that she holds the power in the relationship, and can outsmart the villian. Unlike the sickly Mrs. Thorwald, Lisa has personal power; by solving the murder mystery she shows Jeffries she has all the qualities of the woman he is searching for.
By allowing the viewer to see into the lives of the other apartment dwellers, Hitchcock reveals a number of possible relationship problems. When these issues are acted out openly, we can compare what is happening behind the rear window to the activity beyond it. Hitchcock puts in on the table in full view for Jeffries and Lisa to see and either relate to or resist what is being acted out. Hitchcock also plays upon the notion that what is obvious is not always what is readily seen. Does he turn it around to the notion that what is seen is not always what is obvious? You tell me.
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