The window to the courtyard (1954)

Movie
German title	The window to the courtyard
Original title	Rear window
Country of production	United States
original language	English
Publishing year	1954
length	112 minutes
Age rating	FSK 12
Rod
Director	Alfred Hitchcock
script	John Michael Hayes
production	Alfred Hitchcock for Paramount Pictures
music	Franz Waxman
camera	Robert Burks
cut	George Tomasini
occupation
James Stewart : LB "Jeff" Jefferies Grace Kelly : Lisa Carol Fremont Thelma Ritter : Stella Wendell Corey : Detective Lt. Thomas "Tom" J. Doyle Raymond Burr : Lars Thorwald Judith Evelyn : "Miss Lonely Hearts" Ross Bagdasarian : songwriter Georgine Darcy : "Miss Torso" Sara Berner : dog owner Frank Cady : dog owners Jesslyn Fax : Sculptor Rand Harper : Newlywed Havis Davenport : Newlyweds Irene Winston : Emma Thorwald
synchronization

The window to the courtyard (original title: Rear Window ) is an American film by Alfred Hitchcock from 1954 . The basis was the short story It Had to Be Murder by crime writer Cornell Woolrich . In this thriller , James Stewart plays the photo reporter LB Jefferies, who has broken a leg and is dependent on a wheelchair. Out of boredom, "Jeff" watches his neighbors on the other side of the courtyard and suspects that one of his neighbors murdered his wife. His fiancée Lisa and his nurse Stella support him after initial skepticism in their own investigations.

The film received the criticism positively, sometimes enthusiastically. The window to the courtyard marks the beginning of the “ Paramount era”, in which Hitchcock directed some of his most important films. In 1998, a television film of the same name by Jeff Bleckner followed .

action

The photojournalist LB "Jeff" Jefferies is due to a plaster leg rely temporarily on a wheelchair. Out of boredom, he watches from his window what is going on in the backyard of an apartment complex in Greenwich Village . The initial pleasure in the quirks of his neighbors gradually gives way to an obsessive curiosity. He doesn't let the warning advice of his nurse Stella stop him from his pastime.

Jeff also receives a caring visit from his fiancée Lisa Fremont, who, as an elegant career woman from the upscale neighborhoods of New York, forms the counterpoint to the adventurous photographer who is used to simple life.

When Jeff couldn't find enough rest one night, half asleep, he notices that one of the residents - Thorwald, a fashion jewelry representative from across the street - leaves the apartment several times in the pouring rain in the pouring rain with his sample case. The next morning his bedridden wife disappeared. With binoculars and later through the telephoto lens of his camera, Jeff watches as Thorwald wraps a knife and a saw in newspaper. Jeff reports the suspicious events to Stella and Lisa and creates a daring theory of murder. At first Lisa shows no understanding, but suddenly changes her posture when she sees with her own eyes how Thorwald tied a large trunk with ropes.

The next day, Jeff seeks advice from his friend Thomas J. "Tom" Doyle, who works for the criminal investigation department. He is very skeptical about Jeff's interpretation of recent events, but after some hesitation declares himself ready to undertake unofficial inquiries. Witness statements seem to refute Jeff's suspicions, because Thorwald allegedly sent his wife to the country to relax by train. After her arrival she wrote a postcard from there. The suspicious trunk was probably only used to transport her clothes. But since his wife's handbag with jewelry and wedding ring is still in Thorwald's apartment, Lisa is not satisfied with the explanations. Her feminine intuition is not heard by Doyle, however, and after a discussion accompanied by sarcasm causes him to stop helping for the time being.

Jeff and Lisa cannot hide a paradoxical feeling of disappointment: On the one hand, they see themselves deprived of the fruits of their detective work, on the other hand, the barely felt relief at the apparent sign of life of the alleged victim gnaws at their conscience. The moral aspect is given particular weight, as both have to watch the fateful course of a gentlemen's visit to a resident ("Miss Lonely Hearts") who is desperately looking for attention.

When Lisa closes the curtains to present herself to Jeff in a seductive negligee , a scream suddenly sounds from the backyard: An old couple's little dog was found with a broken neck. The entire neighborhood appears at their windows - only Thorwald shows no movement. Jeff tries to find out the motive for the death of the animal and, with the help of old slides, realizes that some plants in a flower bed near where they were found had become shorter within two weeks. The dog may have dug something up and was caught by the perpetrator. In order to lure Thorwald out of his apartment, Jeff fakes blackmail with a letter and phone call in order to fake money. Lisa and Stella dig up the flower bed, but find no evidence of a crime. Lisa then climbs over the fire stairs and the balcony through the window in Thorwald's apartment to look for evidence there.

Meanwhile, Stella returns to Jeff's apartment, who is appalled by Lisa's carelessness. They agree to let Thorwald's phone ring if Thorwald returns, but then turn their attention to "Miss Lonely Hearts" who has overdosed on capsules with suicidal intent . Jeff calls the police immediately, but hesitates to report because a song played by a neighboring songwriter seems to change the mind of the suicidal woman.

Through this sideline, Jeff and Stella are distracted from the dramatically escalating events in Thorwald's apartment. Thorwald is already returning home without having achieved anything, and Lisa is trapped. She goes into hiding, but is found shortly afterwards by Thorwald and involved in an argument. When the police arrive, Lisa makes it appear in the subsequent questioning as if she had broken into to escape safely from Thorwald's apartment. Before being arrested, she points to her finger with her back to the window. There is Mrs. Thorwald's wedding ring, which she put on with presence of mind to save at least one piece of evidence. Thorwald notices this, looks past her into the courtyard and discovers Jeff and Stella at the window opposite.

Jeff sends Stella to the police with the bail for Lisa while he calls Doyle to clarify the new situation. He is now also convinced of Thorwald's guilt and promises to take care of Lisa's release. When Jeff replies, when the phone rings again, assuming it is Doyle again without hearing a dissenting voice, "I think Thorwald has already run away", he realizes that the anonymous caller could be Thorwald and he one personal confrontation with this can no longer escape. In his limited mobility, Jeff has little means of defense. After preparing a box of flashlight bulbs from his camera, Thorwald stands across from him a little later in the semi-darkness. When asked about his intentions, Jeff does not answer at first. Thorwald comes closer, but is stopped by repeated fades with the flash. He reaches the wheelchair and urges Jeff towards the open window. At this moment Lisa, Stella, Doyle and other police officers arrive. Thorwald is overwhelmed, but Jeff can no longer hold on to the windowsill and ends up in the arms of two policemen after the inevitable fall. Thorwald then confesses to the murder of his wife and the police arrest him.

The next day there is peace again in the backyard: Thorwald's apartment is being renovated, the old couple has a new dog, "Miss Lonely Hearts" and the songwriter get together. Jeff is now sitting in a wheelchair in his apartment with two legs in plaster, and Lisa is with him.

background

History of origin

The literary source for Das Fenster zum Hof is by Cornell Woolrich . He wrote the short story It Had to Be Murder 1942. A DV article published in December 1988 noted that Woolrich gave the rights to the story to DeSylva Productions in 1945, now under the name Rear Window . After DeSylva's death in 1950, Joshua Logan and Leland Hayward bought it. In February 1953 Logan was writing a treatment for Rear Window that Hayward sent to Hitchcock's agent Lew Wasserman in April . He designed Hitchcock's first production for Paramount while shooting his previous film, On Call Murder . Hitchcock was inspired by two real-life murders: the Hawley Crippen case and the Patrick Mahon case. In 1910, Dr. Crippen his wife and buried her divided body in the basement. Mahon killed a girl on the south coast of England in 1924, dismembered her body and threw her piece by piece from a train.

The 162-page script by John Michael Hayes contains some differences from the original. In It Had to Be Murder, for example, the love story that plays a central role in Das Fenster zum Hof is missing . When it came to casting, Hitchcock selected the lead characters and left his assistant director Herbert Coleman to choose a few supporting roles. Filming began on November 27, 1953. The original budget was set at 875,000 US dollars, but had to be increased by almost 263,000 US dollars, making it around 1,138,000 US dollars.

As can be seen from the production notes, all of the recordings were made on a set that required months of planning and construction. The construction under the direction of Hal Pereira took place from October 12th until the beginning of the first camera tests on November 13th. The courtyard was 30 meters wide, 56 meters long and 12 meters high. It consisted of 31 apartments that Jeffries can see from his window, 12 of which are fully furnished - the largest interior set in Paramount Studios until the end of 1953. There was separate lighting for each time of day. The set cost more than $ 9,000 to design and more than $ 72,000 to build. Given the heat and the size of the set, production manager Erickson reported:

“The set reached from the basement to the roof. It was a huge problem for the lighting technicians. And it was very hot. The lighting technology was not that mature at the time. Likewise film material and lenses. Everything had conspired against us. It was an insane task. The helpers under the roof had a hard time, the actors didn't feel better. "

- Doc Erickson

Shooting ended on January 13, 1954, 15 days later than planned.

On August 4, 1954, The Window to the Courtyard premiered at the Rivoli Theater for a benefit event in New York City . The world premiere took place on August 11, 1954. The film was a financial success and played in the United States 26.1 million US dollars one.

Cameo

Hitchcock had his traditional cameo about 26 minutes after the start of the film in the room of the writer and composer, who is rehearsing on the piano while Hitchcock winds a mantel clock behind him.

synchronization

The first synchronization took place in 1954 under the direction of Peter Elsholtz . The dialogue book wrote Fritz A. Koeniger . This dubbed version is now considered lost. Heinz Petruo directed the second dubbing in 1984 and Hans Bernd Ebinger wrote the dialogue book.

role	actor	Dubbing voice (1955)	Dubbing voice (1984)
LB "Jeff" Jeffries	James Stewart	Siegmar Schneider	Siegmar Schneider (again)
Lisa Carol Fremont	Grace Kelly	Eleanor Noelle	Monica Bielenstein
Stella	Thelma Ritter	Ursula War	Ingeborg Wellmann
Thomas "Tom" J. Doyle	Wendell Corey	Paul Klinger	Horst Schön
Lars Thorwald	Raymond Burr	Walther Suessenguth	Joachim Nottke
Mr. Gunnison	Gig Young	Siegfried Schürenberg	Heinz Petruo
Detective	Anthony Warde	Gert Günther Hoffmann
Dog owner	Sara Berner		Eva-Maria Werth
Dog owner	Frank Cady		Wilfried Herbst
Newlyweds	Havis Davenport		Sabine Jaeger

restoration

In 1967 the film negatives were destroyed in a fire. Robert A. Harris and James C. Katz , who had already worked on Lawrence of Arabia and Vertigo - From the Realm of the Dead for Universal Studios , began the restoration in 1997. The poor color and the 90% destroyed emulsion layer caused problems for them. It took them six months to find a way to reapply this.

DVD and Blu-ray

The film has been distributed on DVD by Universal Studios since 2001 . A Blu-ray publication appeared for the first time in 2012, and an expanded and revised version has been offered since 2014.

analysis

Staging

Visual style and camera

The window to the courtyard begins with the exposition typical of Hitchcock , which follows the classic unity of time, place and action: the viewer is introduced to Jeff and his situation, his profession and his environment without comment by a tracking shot. The staging only changes perspective at this point. "As in Murder on the Call, " writes Crowther, Hitchcock uses the colors "dramatically". On the occasion of the restoration, Suchsland wrote that the colors are “cooler and more intense”. The window to the courtyard contains an unusually large number of blinds.

dramaturgy

“ Rear Window was structurally very satisfying because the film is the epitome of subjectivity. A man sees something and reacts. This is how you create a thought process. Rear Window is a thought process with visual means from start to finish. "

- Alfred Hitchcock

Rear Window was in addition to the genre thriller and detective film and the melodrama and the Romance assigned. For Éric Rohmer and Claude Chabrol , it is half a comedy, and they attest the film an "incessant irony of tone". Bernhard Jendricke notes that the window to the courtyard ends with the resumption of the beginning: "The hero is still sitting in a wheelchair, only now he has [...] both legs in plaster instead of one." This "circular structure of the plot" bestows the film the "character of a comedy".

The narrative means are reduced to the essentials. Hitchcock says of the cinematic principle of the film: “That offered the possibility of making a perfect cinematic film. There is the immobile man looking outside. This is the first piece of film. The second piece shows what the man sees, and the third shows his reaction. That represents the purest expression of cinematic imagination that we know. " André Bazin divides Das Fenster zum Hof into three films: the first would tell" about the sexual relationship between a man and a woman ", the second would be a" classic crime film " and the last an episode film.

Sound and music

Franz Waxman's music is used very sparingly and precisely. It should characterize the world of film - "a world that is limited to the backyard". The composer in the film develops the leitmotif song "Lisa" throughout the film. Hitchcock wanted it to “finally come off a record in the final scene with orchestra. That didn `t work. I should have used a pop composer for it. I was very disappointed. ”For Spoto (1999), the theme song“ To See You is To Love You ”by Bing Crosby is very instructive:“ […] and this [“To see you means to love you”] hits the spot Jeff admits - he too is content with mere observation. "

According to Katz (1982), Hitchcock had a certain way of achieving the "slightly hollow, very realistic sound": He recorded the sound from Stewart's seat, thus the distance between the window where Stewart sat, and portray the other apartments. For the same reason, all the songs from the film are played on a radio.

Themes and motifs

Voyeurism

Jeff is a voyeur who with his telephoto lens, the “portable keyhole” (Stella) waits “ for something to happen that confirms his conclusions, and we wait and wish with him. The crime is more or less wanted by him: He wants to derive the greatest possible enjoyment from his discovery, to make it the meaning of his life. The crime is also wanted by us, the spectators, and we are more afraid of nothing than that our hopes will be disappointed. "Wydra explains this by saying that the viewer" sees the courtyard predominantly through Jeffries' eyes. Only in a few scenes does he stand outside. The subjective view is declared to be objective. So the viewer's gaze is that of the camera, that of Jeffries. Because of this merging, especially since the viewer's basic situation is watching, he or she commits an indiscretion from the start. He becomes a voyeur. ”According to Éric Rohmer and Claude Chabrol, this is not the first time that Hitchcock has exposed the sadistic expectations of his audience, for example with deliberately deceptive happy endings or easily foreseeable events that are completely unexpected in their cruelty. In addition, the urge to “solve the riddle, or rather: to see the solution, is stronger than any other feeling for the photo reporter. This voyeur experiences his greatest pleasure at the moment of his greatest fear. "

In the following, the authors go into the scene in which Jeff confronts the murderer: “What do you want from me?” Asks the man, who can only think of the shabbiest motive for explaining the other's behavior: blackmail. The actual motive - cowardly curiosity - is even shabbier. "According to Spoto," Rear Window breaks a lance for more introspection and rejects voyeurism. "For him, Jeff" puts his own life and that of others [...] in danger. that he is only a spectator and does not take part in life itself - so in a way this photographer is not only the ultimate moviegoer, but also the ultimate filmmaker. "

The idea of ​​marriage

Donald Spoto refers to the Thorwald murder as MacGuffin , which only serves to introduce the actual theme of the film: the relationship between Jeff and Lisa. That Hitchcock is not interested in the murderer becomes clear “when we remember that we (1) do not see the actual crime, that we (2) know nothing about the man and his wife, about their past, their coexistence or Details of her "illness" (it looks quite healthy and pretty), and that we (3) only see her from afar. "Spoto notes that Jeff intimacy is scary and he" takes every opportunity to Reject Lisa. [...] because it offers Jeff love and loyalty together with beauty and wisdom, he obviously feels overwhelmed, attacked in his superiority ”. Spoto refers to the scene in which Lisa tries on a dress for Jeff and later a negligee , but every allusion to physical love bothers him.

In an interview with Hitchcock, François Truffaut sees on the other side of the courtyard “all kinds of human behavior, a small catalog of behavior. […] What you see on the courtyard wall is an abundance of little stories, it is the mirror, as you say, of a small world. "Hitchcock adds:" And all these stories have love as a common denominator. "Jendricke interprets the scene , in which Lisa secretly searches Thorwald's apartment and finds the ring of the disappeared, as follows: "Lisa [puts on] the ring, because she has both convicted the murderer and has proven to her friend that she is up to the dangers , so his concerns have become obsolete - and nothing stands in the way of a marriage. "

lonliness

None of the residents, "no matter what social status [they] are in, whether single or married, none of them seem fulfilled, seem happy." For Éric Rohmer and Claude Chabrol, loneliness is not only manifested “In the impotence of the wheelchair-bound reporter”, but also “in the box apartments reminiscent of rabbit coops that he sees from his window”. The idea of ​​“moral loneliness, conceived as a punishment for the hypertrophy of desire”, overlaps this idea of ​​“physical loneliness ”. The authors draw the following balance: “In short, each of the characters, whether protagonist or secondary character, is locked up, not only in the hermitage of his apartment, but in the dogged consent to a state that, if you look at him from the outside, excerpts and viewed from a distance, can only appear ridiculous. "

dualism

Thilo Wydra states that Thorwald is Jeff's “ externalized alter ego ”. He explains: “Jeffries' observation of Thorwald's married life and the consequences may ultimately be nothing but an unconscious projection of his primal fears. Basically everything that takes place on the opposite side is the symbolization of longings and desires on the one hand, and of fears and abysses on the other. Thorwald does what Jeffries doesn't dare to do. “Jeff is the positive hero, Thorwald the negative antagonist . He is with a woman who looks “blonde, slim and rather younger” from a distance - just like Lisa. Spoto confirms this impression. “While it's Jeff here, the photo reporter who usually travels the world, who is tied to a wheelchair and sofa bed with his leg in plaster and is insistently cared for by Lisa; it is exactly mirrored over there: Thorwald's wife is sick and lies in bed, while he, the traveling salesman, is on the move and mobile, but has to take care of his wife. "Bernhard Jendricke finds further parallels:" Both men are professional travelers, both are involuntarily sexually abstinent , one because of his plaster corset, the other because of the lack of opportunities to meet his lover. Both handle objects that have a phallic symbolism: Jeffries uses an extremely long telephoto lens in his voyeuristic explorations, the representative kills his wife with a butcher knife of considerable size. ”In addition, both women would harass their partners.

reception

Both the contemporary and the more recent criticism received Das Fenster zum Hof almost exclusively positively or euphorically. On IMDb , the film received an average of 8.5 out of 10 possible stars, making it 45th (as of January 2019) in the IMDb Top 250 . On Rotten Tomatoes , 100% of the critics gave the film a positive rating. 63 reviews were evaluated.

Contemporary reactions

François Truffaut shows in the Arts confident in magazine, "that this film one of the most important of the seventeen that Hitchcock in Hollywood has turned one of the most unusual in any case, spotless, without any weakness, without concession. [...] Hitchcock acquired such knowledge of cinematic storytelling that in thirty years he has become far more than just a good storyteller. Because he is passionate about his job and does not stop filming, and because he has long since solved all staging problems, he has to invent additional difficulties and submit to new disciplines in order not to be bored or repetitive, which has led to this accumulation in his last films of extremely exciting and always brilliantly resolved constraints. "

In the film magazine Cahiers du cinéma , Claude Chabrol sees the film at "a higher level than most of his previous work". That would put him “clearly in the category of serious works beyond mere crime thriller entertainment”.

William Brogdon calls The Window to the Courtyard in Variety's July 14, 1954 “one of Hitchcock's better thrillers”. Hitchcock combined "technical and artistic skill in a way that makes him an unusually good piece of crime entertainment". He praised the script by John Michael Hayes as "clever" and the residents of the other apartments would seem like "real people". Burr would also be “very good” as a threat. Even the filmdienst makes a positive judgment: "A very exciting, dramatic sophisticated film without shock effects. One of the most stylistically clear and original Hitchcock films full of breathless tension because the viewer soon notices that Jeffries' situation is similar to his. ”The film commission awards the rating“ worth seeing ”.

André Bazin praised the film in the France Observateur as an “honorable work”, but cannot identify any “serious work beyond mere entertainment at a high level”. In addition, in the last third of the film the film would be "too artfully staged [...] for its characters to be credible for even a moment". For Bosley Crowther , The Courtyard Window "doesn't matter". What Hitchcock had to say about human nature would be "superficial" and "thoughtless". But it shows "many facets of the loneliness of city life" and "quietly demonstrates the drive for pathological curiosity". Stewart's acting hailed Crowther as "first class work". The New Yorker refers to the film as "rubbish" and the only location would be "stupidity".

Later reviews

Michael Sragow sums up in March 2012: “[ The window to the courtyard ] is an amazing, visual and psychological coup. Hitchcock's brilliant satire on cramped city life and his masterly evocation of urban voyeurism generate [...] primal fears and deep insight. "Kelly shows the" most charming performance "of her career. Roger Ebert awards 4 out of 4 possible stars: The level of the film would be “so high above the cheap thrill of modern slasher films ” that the film, originally intended for entertainment, “is now revealed as art”.

Vincent Canby writes in the New York Times on October 9, 1983 that Stewart's "great performances" were the "heart of the film." “ The window to the courtyard enchants us immediately and does not have to be analyzed to death to get his place in the Pantheon .” The Guardian editor Killian Fox judges that Hitchcock would have understood better than any other filmmaker how to arouse our voyeuristic tendencies. He doesn't think Hitchcock "ever did it more skillfully or with more malicious self-confidence" than here.

Joshua Klein calls Das Fenster zum Hof “probably [...] the most successful mixture of entertainment, tension and psychology in Hitchcock's remarkable career. A fascinating study of obsession and voyeurism - with the perfect cast, perfect script and perfect setting. ”For Kim Newman , the film is“ witty, exciting, sad, funny and clever ”and“ would get more than five stars if Empire allowed it ... “The film magazine lists it at number 103 of the 500 best films of all time.

Awards

BAFTA Awards 1955 nominated for: Best Film - Alfred Hitchcock National Board of Review 1954 Best Actress - Grace Kelly Academy Awards 1955 nominated for: Best director - Alfred Hitchcock Best Adapted Screenplay - John Michael Hayes Best Cinematography (Color Film) - Robert Burks Best note - Loren L. Ryder Edgar Allan Poe Award 1955 Best Screenplay for a Motion Picture - John Michael Hayes

Venice International Film Festival 1954 nominated for: Golden Lion - Alfred Hitchcock New York Film Critics Circle Award 1954 Best Actress - Grace Kelly American Film Institute The 100 Best American Movies of All Time - # 42 The 100 Best American Thrillers - # 14 The 10 most important films in 10 classic genres (crime films) - # 3

Influences

The window to the courtyard is referred to in numerous films and series . 1999 filmed Jeff Bleckner Rear Window with Christopher Reeve in the title role again . Reeve plays an architect instead of a photographer. Disturbia (2007) transfers the plot into the present: Shia LaBeouf embodies Kale Brecht, who is under house arrest after a physical argument and has to wear an electronic ankle cuff . The crime scene: Hitchcock und Frau Wernicke (2010) takes on larger passages of the plot, the film itself also plays a role. The episode Sehnsucht of the crime television series Traces of Evil is also based on the plot of the film.

In 2009, the film was the subject of a sketch on the comedy show Saturday Night Live, starring Jason Sudeikis as James Stewart, January Jones as Grace Kelly and Bobby Moynihan as Alfred Hitchcock. In the first episode of the sixth season of the animated series The Simpsons - A Grisly Suspicion - Bart has to wear a leg in plaster because of a swimming accident. In addition , the Feuerstein family (1961), The Detectives (1994), Alone Against the Future (1998), The Wild Seventies (2000), Mike & Molly (2013) and the first episode of the British comedy series My Life in Film (2004) parody Das Window to the courtyard . Episodes from the crime series Psych (2010), White Collar (2012) and Castle (2013) are directly related to the film. Even Alf says in the episode The window to the garden a murder to have observed his neighbor Trevor to his wife Rachel, a nod to Hitchcock's film.

The short story The Birds of Azalea Street by writer Nova Ren Suma from the anthology Slasher Girls and Monster Boys (2015) was inspired by the film.

literature

• Cornell Woolrich : The Window to the Courtyard: And four other crime stories. Diogenes Verlag, Zurich 2003, ISBN 978-3-257-21718-6 .
• John Belton: Alfred Hitchcock's Rear Window. Cambridge University Press, 1999, ISBN 978-0-521-56453-3 .

Web links

• Rear Window in the Internet Movie Database (English)
• Rear Window at Rotten Tomatoes (English)
• Rear Window at Metacritic (English)
• The window to the courtyard in the online film database
• Collection of reviews on Movie Review Query Engine (English)

Individual evidence

1. ↑ Release certificate for the window to the courtyard . Voluntary self-regulation of the film industry , December 2008 (PDF; test number: 84 61D DVD).
2. ^ Thilo Wydra: Alfred Hitchcock. Life - work - effect . 2010, ISBN 978-3-518-18243-7 , pp. 93 .
3. ↑ ^{a b c d} Detail view of Rear Window (Notes) . In: American Film Institute . Retrieved March 23, 2015. (English)
4. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 23.
5. ↑ John Russell Taylor: The Hitchcock Biography . 1980, ISBN 3-446-12973-1 , pp. 264 .
6. ↑ François Truffaut: Mr. Hitchcock, how did you do it? 2003, ISBN 3-453-86141-8 , pp. 214 .
7. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 38.
8. ↑ Pat Hitchcock O'Connel: Looking back from the window to the courtyard in the bonus material on the DVD (5:10 min - 5:39 min)
9. ↑ Herbert Coleman : Looking back from the window to the courtyard in the bonus material on the DVD (12:44 min - 13:04 min)
10. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 52.
11. ^ ^{A b} John Belton: Alfred Hitchcock's Rear Window. 1999, p. 38.
12. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 53.
13. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 30.
14. ^ ^{A b} John Belton: Alfred Hitchcock's Rear Window. 1999, p. 3.
15. ^ Bernhard Jendricke: Alfred Hitchcock . 1993, ISBN 978-3-499-50420-4 , pp. 97 .
16. ^ Donald Spoto: Alfred Hitchcock and his films . 1999, ISBN 3-453-15746-X , pp. 231 .
17. ↑ James C. Katz: Looking back from the window to the courtyard in the bonus material on the DVD (17:23 min - 17:35 min)
18. ↑ Doc Erickson: Looking back from the window to the courtyard in the bonus material on the DVD (16:51 min - 17:22 min)
19. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 40.
20. ↑ Rear Window: Domestic Total Gross . In: Box Office Mojo . Retrieved January 30, 2015. (English)
21. ↑ The window to the courtyard (cinema version) . In: German synchronous card index . Retrieved November 19, 2014.
22. ↑ The window to the courtyard (re-performance) . In: German synchronous card index . Retrieved November 19, 2014.
23. ↑ ^{a b} Rüdiger Suchsland : Voyeuristic Short-Cuts . In: artechock . Retrieved April 20, 2015.
24. ↑ James C. Katz and Robert Harris: Looking back from the window to the courtyard in the bonus material on the DVD (45:35 min - 47:47 min)
25. ↑ Rear Window: Collector's Edition. In: The DVD Journal. Retrieved June 25, 2016. (English)
26. ↑ Rear Window: Rear Window. In: DVDBeaver. Retrieved June 25, 2016. (English)
27. ↑ Rear Window Blu-ray. In: blu-ray.com. Retrieved June 25, 2016. (English)
28. ^ Thilo Wydra : Alfred Hitchcock. Life - work - effect. 2010, p. 94.
29. ^ ^{A b} François Truffaut : Mr. Hitchcock, how did you do that? 2003, p. 214.
30. ↑ ^{a b c} Bosley Crowther : A 'Rear Window' View Seen at the Rivoli . In: New York Times . August 5, 1954. Online version . Retrieved December 25, 2014. (English)
31. ^ Donald Spoto: Alfred Hitchcock and his films. 1999, p. 233.
32. ^ Donald Spoto: Alfred Hitchcock and his films. 1999, p. 239.
33. ↑ Éric Rohmer, Claude Chabrol: Hitchcock . 2013, ISBN 978-3-89581-280-4 , pp. 186 .
34. ^ Bernhard Jendricke: Alfred Hitchcock. 1993, p. 99.
35. ^ Bernhard Jendricke: Alfred Hitchcock. 1993, pp. 96-97.
36. ^ François Truffaut : Mr. Hitchcock, how did you do that? 2003, p. 211.
37. ^ ^{A b} André Bazin : Fenêtre sur cour . In: France Observateur . No. 256, April 7, 1955. (French)
38. ↑ Curtis Hanson : Looking back from the window to the courtyard in the bonus material on the DVD (30:28 min - 30:42 min)
39. ↑ John Waxman: Looking back from the window to the courtyard in the bonus material on the DVD (32:29 min - 34:36 min)
40. ^ ^{A b} Donald Spoto: Alfred Hitchcock and his films . 1999, p. 235.
41. ↑ James C. Katz: Looking back from the window to the courtyard in the bonus material on the DVD (31:20 min - 31:48 min)
42. ^ ^{A b} Thilo Wydra : Alfred Hitchcock. Life - work - effect. 2010, p. 95.
43. ^ ^{A b c} Éric Rohmer and Claude Chabrol : Hitchcock. 2013, p. 188.
44. ^ Thilo Wydra : Alfred Hitchcock. Life - work - effect. 2010, pp. 94-95.
45. ^ Éric Rohmer and Claude Chabrol : Hitchcock. 2013, p. 192.
46. ^ Donald Spoto: Alfred Hitchcock and his films . 1999, p. 236.
47. ^ Donald Spoto: Alfred Hitchcock and his films . 1999, p. 230.
48. ^ Donald Spoto: Alfred Hitchcock and his films . 1999, p. 229.
49. ^ François Truffaut : Mr. Hitchcock, how did you do that? 2003, p. 212.
50. ↑ ^{a b} Bernhard Jendricke: Alfred Hitchcock. 1993, p. 98.
51. ^ Éric Rohmer and Claude Chabrol : Hitchcock. 2013, pp. 189–190.
52. ^ Éric Rohmer and Claude Chabrol : Hitchcock. 2013, p. 191.
53. ^ ^{A b} Thilo Wydra : Alfred Hitchcock. Life - work - effect. 2010, p. 97.
54. ^ Donald Spoto: Alfred Hitchcock and his films. 1999, p. 234.
55. ^ The window to the courtyard (1954) . In: IMDb . Retrieved May 6, 2015.
56. ↑ IMDb Top 250 . In: IMDb . Retrieved May 6, 2015.
57. ^ Rear Window (1954) . In: Rotten Tomatoes . Retrieved May 7, 2015. (English)
58. ^ François Truffaut : Fenêtre sur cour . In: Arts. No. 510, 6-12. April 1955, p. 5. (French)
59. ↑ Claude Chabrol : Les choses sérieuses [The serious things]. In: Cahiers du cinéma . Issue 46, April 1955, pp. 41-43. (French)
60. ^ William Brogdon: Review: 'Rear Window' . In: Variety . July 14, 1954. Online version . Retrieved December 26, 2014. (English)
61. ↑ Brief review of Das Fenster zum Hof ​​(1954) . In: film service . Online in cinOmat (access only for subscribers).
62. ^ John Belton: Alfred Hitchcock's Rear Window. 1999, p. 40.
63. ↑ Michael Sragow: Rear Window . In: The New Yorker . 7th / 8th March 2012. Accessed June 10, 2015. (English)
64. ^ Roger Ebert : Rear Window Movie Review . In: rogerebert.com. February 20, 2000. Retrieved December 25, 2014. (English)
65. ↑ Vincent Canby : Rear Window '- Still a Joy . In: New York Times . October 9, 1983. Online version . Retrieved January 2, 2015. (English)
66. ↑ Killian Fox: My favorite Hitchcock: Rear Window . In: The Guardian . July 25, 2012. Retrieved January 2, 2015. (English)
67. ↑ Joshua Klein: The window to the courtyard. In: 1001 Movies You Should See Before Life Is Over . 9th edition (2012), p. 294.
68. ↑ Kim Newman : Rear Window (2014) . In: Empire . Retrieved January 2, 2015. (English)
69. ↑ Empire's 500 Greatest Movies Of All Time: 200-101 . In: Empire . Retrieved July 4, 2015. (English)
70. ↑ The window to the courtyard. In: prisma.de . Retrieved June 24, 2016.
71. ^ Rüdiger Suchsland : View from the window. In: artechock . Retrieved June 24, 2016.
72. ↑ Crime scene: Hitchcock and Mrs. Wernicke. In: TV feature film . Retrieved June 24, 2016.
73. ↑ TV tip: New "Traces of Evil" as a homage to Hitchcock on ots.at from August 22, 2019, accessed on August 30, 2019.
74. ↑ Phil Nugent: The Ten Worst Saturday Night Live Hosts of All Time. In: Nerve. Retrieved June 24, 2016.
75. ↑ A ghastly suspicion (Bart Of Darkness). In: fernsehserien.de. Retrieved June 24, 2016.
76. ↑ Alvin Brick skirt Presents (1961). In: IMDb . Retrieved June 24, 2016.
77. ^ Rear window. In: IMDb . Retrieved June 24, 2016.
78. ↑ Where or When. Accessed July 31, 2016 . 
79. ^ Too Old to Trick or Treat, Too Young to Die. In: IMDb . Retrieved June 24, 2016.
80. ^ Rear window. In: IMDb . Retrieved June 24, 2016.
81. ↑ Mr. Yin Presents. In: IMDb . Retrieved June 24, 2016.
82. ^ Neighborhood Watch. In: IMDb . Retrieved June 24, 2016.
83. ^ The Lives of Others. In: IMDb . Retrieved June 24, 2016.
84. ↑ Dahlia Adler: April Tucholke talks Horror Anthology Slasher Girls & Monster Boys and Zombie Apocalypse Buddies. In: Barnes & Noble . Retrieved July 31, 2016.

This version was added to the list of articles worth reading on August 9, 2016 .