Re: Character Rig Cinema 4d Download For Windows
Sanora Ngueyn
Now, that is a very cinematic introduction of the main character through one single camera movement, not a single frame was wasted. And here is what Alfred Hitchcock said himself about this opening scene:
Hey jan another good post. It made me think about two other movies i love that consist of extremely long single shots: before sunrise and its sequel before sunset. I think one shot is 20 minutes long. The whole films are just two people walking around talking, but with the single shot format (my god think of the poor actors) you arent distracted by anything. It allows you to be drawn into them. If you know these movies i would be interested to know what you think of them. Or if you havent i strongly recommend them to you!
Its kind of like the opposite of how quick action cuts are aimed at GRABBING the attention of todays youth. With extremely gentle midshots and closeups that go on and on and follow their faces, it keeps your attention because you have no moment to look away. The films are 90 min of dialogue but you are on the edge of your seat the whole time!
Rear Window is a 1954 American mystery thriller film directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrich's 1942 short story It Had to Be Murder. Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. It was screened at the 1954 Venice Film Festival.
Rear Window is considered by many filmgoers, critics, and scholars to be one of Hitchcock's best,[4] as well as one of the greatest films ever made. It received four Academy Award nominations, and was ranked number 42 on AFI's 100 Years...100 Movies list and number 48 on the 10th-anniversary edition, and in 1997 was added to the United States National Film Registry in the Library of Congress as being "culturally, historically, or aesthetically significant."[5][6]
While recuperating after breaking his leg, a professional photographer, L. B. "Jeff" Jefferies, is confined to a wheelchair in his apartment in Greenwich Village, Manhattan. His rear window looks out onto a courtyard and other apartments. During an intense heat wave, he watches his neighbors, who keep their windows open to stay cool. They include a lonely woman, whom Jeff nicknames "Miss Lonelyhearts"; a newlywed couple; a composing pianist; a pretty dancer, nicknamed "Miss Torso"; a middle-aged couple, whose small dog likes digging in the flower garden; and Lars Thorwald, a traveling costume-jewelry salesman with a bedridden wife.
Jeff is visited regularly by Lisa Fremont, his socialite girlfriend, and by a nurse, Stella. One night, after an argument with Lisa, Jeff is alone in his apartment and hears a woman scream "Don't!" and the sound of breaking glass. Later that night, during a thunderstorm, he observes Thorwald making repeated excursions carrying a suitcase. Later, after Jeff dozes off, Thorwald leaves his apartment along with a woman. The next morning, Jeff notices that Thorwald's wife is gone, and sees him cleaning a large knife and handsaw. Thorwald also has moving-men haul away a large trunk. Jeff becomes convinced that Thorwald has murdered his wife, and tells Lisa and Stella, who believe him when they notice that Thorwald's wife isn't in bed anymore. Jeff calls his friend and war buddy Tom Doyle, a New York City Police detective, and asks him to investigate Thorwald. Doyle finds nothing suspect: apparently Mrs. Thorwald is upstate.
Much to Jeff's amazement and admiration, Lisa climbs up the fire escape to Thorwald's apartment and clambers in through an open window. Jeff and Stella get distracted when they see Miss Lonelyhearts take out some pills and write a note, apparently about to commit suicide. They call the police; but, before they can report the suicide attempt, Miss Lonelyhearts stops, opening the window to listen to the pianist's music. Thorwald returns and confronts Lisa, and Jeff realizes that Thorwald is going to kill her. As he already was on the phone calling the police (because of Miss Lonelyhearts attempted suicide), Jeff uses the call to report an assault in progress. The police arrive and arrest Lisa when Thorwald indicates that she broke in to his apartment. Jeff sees Lisa coyly pointing to her finger with Mrs. Thorwald's wedding ring on it. Thorwald sees this also and, realizing that she is signaling someone, spots Jeff across the courtyard.
Jeff phones Doyle and leaves an urgent message while Stella goes to bail Lisa out of jail. When his phone rings, Jeff assumes it is Doyle, and blurts out that the suspect has left. When no one responds, he suspects that it was Thorwald calling. Thorwald enters Jeff's dark apartment and Jeff fires a series of camera flashbulbs to temporarily blind him. Thorwald pushes Jeff out the window and Jeff, hanging on, yells for help. Police enter the apartment, Jeff falls, and officers on the ground break his fall. Thorwald confesses to the police that he murdered his wife.
A few days later, normality returns to the neighborhood. The couple whose dog was killed have a new puppy, the newlyweds are having their first argument, Miss Torso's boyfriend comes back from the army, Miss Lonelyhearts starts seeing the pianist, and Thorwald's apartment is being refurbished. Jeff rests in his wheelchair, now with casts on both legs. Beside him, Lisa reads a book, Beyond the High Himalayas. After seeing that Jeff is sleeping, Lisa happily opens Harper's Bazaar, a fashion magazine.
In Laura Mulvey's essay "Visual Pleasure and Narrative Cinema," she identifies what she sees as voyeurism and scopophilia in Hitchcock's movies, with Rear Window used as an example of how she sees cinema as incorporating the patriarchy into the way that pleasure is constructed and signaled to the audience. Additionally, she sees the "male gaze" as especially evident in Rear Window in characters such as the dancer "Miss Torso;" she is both a spectacle for Jeff to enjoy, as well as for the audience (through his substitution).[8]
In his 1954 review of the film, Franois Truffaut suggested "this parable: The courtyard is the world, the reporter/photographer is the filmmaker, the binoculars stand for the camera and its lenses."[9]
John Fawell notes in Dennis Perry's book Hitchcock and Poe: The Legacy of Delight and Terror that Hitchcock "recognized that the darkest aspect of voyeurism . . . is our desire for awful things to happen to people . . . to make ourselves feel better, and to relieve ourselves of the burden of examining our own lives."[10] Hitchcock challenges the audience, forcing them to peer through his rear window and become exposed to, as Donald Spoto calls it in his 1976 book The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures, the "social contagion" of acting as voyeur.[11]
In his book Alfred Hitchcock's "Rear Window", John Belton further addresses the underlying issues of voyeurism which he asserts are evident in the film. He says "Rear Window's story is 'about' spectacle; it explores the fascination with looking and the attraction of that which is being looked at."[12]
In an explicit example of a condemnation of voyeurism, Stella expresses her outrage at Jeffries' voyeuristic habits, saying, "In the old days, they'd put your eyes out with a red hot poker" and "What people ought to do is get outside and look in for a change."
The screenplay, which was written by John Michael Hayes, was based on Cornell Woolrich's 1942 short story It Had to Be Murder. However, in 1990 the question as to who owned the film rights of Woolrich's original story went before the Supreme Court of the United States in Stewart v. Abend.[14] Although the film was copyrighted in 1954 by Patron Inc. by a production company set up by Hitchcock and Stewart, a subsequent rights holder refused to acknowledge previous rights agreements. As a result, Stewart and Hitchcock's estate became involved in the Supreme Court case. Its outcome led to the litigant, Sheldon Abend, becoming credited as a producer of the 1998 remake of Rear Window.
The film was shot entirely at Paramount Studios, which included an enormous indoor set to replicate a Greenwich Village courtyard. Set designers Hal Pereira and Joseph MacMillan Johnson spent six weeks building the extremely detailed and complex set, which ended up being the largest of its kind at Paramount. One of the unique features of the set was its massive drainage system, constructed to accommodate the rain sequence in the film. They also built the set around a highly nuanced lighting system which was able to create natural-looking lighting effects for both the day and night scenes. Though the address given in the film is 125 W. Ninth Street in New York's Greenwich Village, the set was actually based on a real courtyard located at 125 Christopher Street.[15]
Bosley Crowther of The New York Times called the film a "tense and exciting exercise" and deemed Hitchcock as a director whose work has a "maximum of build-up to the punch, a maximum of carefully tricked deception and incidents to divert and amuse." Crowther also noted that "Mr. Hitchcock's film is not 'significant.' What it has to say about people and human nature is superficial and glib, but it does expose many facets of the loneliness of city life, and it tacitly demonstrates the impulse of morbid curiosity. The purpose of it is sensation, and that it generally provides in the colorfulness of its detail and in the flood of menace toward the end."[17] Variety called the film "one of Alfred Hitchcock's better thrillers" which "combines technical and artistic skills in a manner that makes this an unusually good piece of murder mystery entertainment."[20] The film ranked fifth on Cahiers du Cinma's Top 10 Films of the Year List in 1955.[21]
Time called it "just possibly the second-most entertaining picture (after The 39 Steps) ever made by Alfred Hitchcock" and a film in which there is "never an instant ... when Director Hitchcock is not in minute and masterly control of his material." The reviewer also noted the "occasional studied lapses of taste and, more important, the eerie sense a Hitchcock audience has of reacting in a manner so carefully foreseen as to seem practically foreordained."[22] Harrison's Reports named the film as a "first-rate thriller" that is "strictly an adult entertainment, but it should prove to be a popular one." They further added, "What helps to make the story highly entertaining is the fact that it is enhanced by clever dialogue and by delightful touches of comedy and romance that relieve the tension."[23]
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