Themes in Rear Window by Alfred Hitchcock
MORAL ISSUES WITH VOYEURISM:
LACK OF PRIVACY
A clear idea established in the opening of the text is that voyeurism erodes privacy. This is clear in the opening of the film, which utilises diegetic sound in the form of a helicopter’s rotor blades, as we see it descend - watching over the men and women of Greenwich Village. From the outset, the thematic prevalence of surveillance is clear in the watchful gaze of the helicopter.
Privacy is also brought to the forefront of the film in Stella’s proclamation that “we’ve become a race of peeping toms,” as “what people ought to do is get out of their house and look in it for a change.” Thelma Ritter’s character further warns that Jeff’s “innocent fun” will lead him to “see something [he] shouldn’t see.” The audience is thus similarly warned, as in watching the “private world” of the domestic sphere, embodied in the sexualised dancing of Miss Torso, the audience is also ethically complicit in Jeff’s voyeurism.
The ethical ramifications of voyeurism are also clear within Miss Lonely Hearts’ unsuccessful date, as his sexual advances indicate his predatory intentions towards her. As she slumps over in defeat on her couch, her body language is melancholic as she curls in on herself, a semi close up shows both Jeff and Lisa look away in shame. The intimacy of Miss Lonely Hearts’ dejection leaves them to realise their “rear window ethics” have crossed moral boundaries. The context of this is also necessary to interpret - with Jeff’s intent view into his “long focus lens,” it’s clear the dramatic viewing is one done for pleasure, a kind of scopophilic pleasure.
Jeff’s contemplation as to whether “it’s ethical to watch a man with binoculars and a long focus lens,” even if “[he] prove[s] he didn’t commit a crime,” brings forward this question of voyeurism as associated with criminality and the perversion of privacy. The moral implications of participating in voyeurism are further emphasised through Hitchcock’s lighting choices. Throughout the film darkness is associated with sinful acts, as Thorwald’s apartment is purposefully darkened - the sole source of lighting the burning trail of a cigarette. Jeff also often operates in darkness for the bulk of the film, as the script directions note that he “propel[s]...into the shadow,” wishing to avoid detection whilst also ensuring voyeuristic satisfaction in watching this “secret and private world.”
PROJECTING ASSUMPTIONS ON OTHERS
In only viewing his neighbours through “a long focus lens” Jeff is left with a scoffing impression of women, as seen through his judgement of Miss Torso, who he perceives to be the “Queen Bee with her pick of the drones,” only interested in “the most prosperous looking [man].”
Indeed, this shallow analysis of Miss Torso’s character also leads Jeff to draw parallels with Lisa, accusing her of “never [being able to] wear the same dress twice”, and only being motivated by a “lobster dinner.” Jeff’s voyeuristic behaviour thus reinforces his own pre-existing beliefs regarding gender norms, and further leads him to project these assumptions on the other women in his life, as he is left with the belief that women are only interested in “juggling wolves” and stoking their feminine ego.
Jeff’s assumptions are also informed by his observations of the Thorwald family. As he sees Lars subject to the abuse of his “nagging wife,” Hitchcock makes use of the Kuleshov effect, directly contrasting Jeff’s view of the Thorwald’s to his following complaints to Gunnison. These two shots, directly in succession, emphasise that Jeff has internalised this perspective of marriage as social shackle which stops him from “go[ing] anywhere.” Jeff’s view of the Thorwalds leads him to assume that marriage must be a world where he is trapped by the domesticity of “a hot apartment…the automatic laundry and the electric dishwasher.”
The assumptions born from voyeurism are not just isolated to Jeff. Oftentimes we see characters project the minutiae of their personal perspectives onto the events that they witness. When listening to the composer, for example, both Jeff and Lisa articulate different perspectives on the success of the composition informed by their personal perspectives. Lisa, who believes her relationship with Jeff is successful, thinks the music is “enchanting” and “written especially for us.” In contrast, Jeff states that the composer is “having so much trouble with it,” a reflection of his own thinking that he and Lisa lack compatibility.
BENEFITS OF VOYEURISM
A TOOL FOR SECURITY
While voyeurism is clearly shown to have deleterious repercussions, Hitchcock also reveals how in functioning as an apparatus for security, it may also be justified. We see this in the harmonious epilogue of the film. Where in the film’s opening the Pianist was only capable of a simple and broken melody, at the films end we hear the composition of a full symphonic arrangement, as a far camera shot captures the Pianist’s sense of relief and satisfaction in his body language. The scene then immediately transitions into Thorwald’s empty apartment with no furnishings, as two painter repaint the walls with white- symbolising the safety and purity which has returned to the Village.