Rear Window – A Second Look

 

The previous time James Stewart and Alfred Hitchcock worked together was on Rope; an experimental piece for Hitch that was considered a failure by most critics of the time. Stewart himself was not happy with the picture, or with the role, which he felt was not right for him. Additionally, there was the fact Rope was not a financial box office success. Some cities even requested cuts before it was to be shown. In Chicago it was banned outright. This was most likely because the storyline was a bit too close to the real life Loeb-Leopold case of the 1920’s.  Subsequently, when Hitchcock called about Rear Window, Stewart was hesitant to accept, especially after hearing that, like Rope, the film would take place mostly on one set. Furthermore, he would be confined to a wheelchair for the entire film.

Vivacious Lady (1938) George Stevens

One can easily understand why James Stewart’s introverted professor falls so quickly and hard for Ginger Rogers nightclub entertainer, she is sexy, charming and adorable. “Vivacious Lady,” directed by George Stevens, is a smart and funny romantic comedy, in other words, the kind Hollywood does not or cannot make anymore. The film won’t make anyone’s top list of great comedies, it’s certainly not in the same class as THE LADY EVE, THE AWFUL TRUTH or BRINGING UP BABY but it does have its charm. Written by P.J. Wolfson and Ernest Pagano from a story by I.A.R. Wylie it is a remarkably simple story with a running time of 90 minutes and few of those minutes are wasted.

It’s love at first sight when Peter Morgan Jr. (James Stewart) falls for nightclub singer Francey Brent (Ginger Rogers) when he travels to New York to bring back home his wayward playboy cousin Keith (James Ellison). Within days the couple quickly marry and head back to Peter’s small hometown where he is a professor of Botany and his stanch, rigid, unyielding father, beautifully played by Charles Coburn, is the President of the University. Peter has always bowed to dad’s wishes, as does his mother (Beulah Bondi) who fakes heart problems just to gain sympathy and keep family peace when the senior Morgan gets on his high horse. You see, Morgan Sr. is a man who is just use to getting his way. Knowing his father, spineless Peter wants to hold off on announcing the marriage. Two attempts to tell Dad end abruptly with his father constantly interrupting him. As the conversations heat up, Peter’s mother would fake one of her ‘heart condition’ flare-ups. Also waiting back home is Peter’s fiancée, a stuffy, annoying woman named Helen (Frances Mercer) who is not letting Peter go too easily. Finally, the newlyweds are continuously attempting to consummate their marriage throughout the film.

Wife versus Secretary (1936) Clarence Brown

Poor Clark Gable, he has Myrna Loy as his loving sophisticated wife, so confident in her own womanhood and her marriage that she does not mind hubby having Jean Harlow as his beautiful secretary. Harlow is not only a snazzy looking woman, she’s smart and essential to Gable’s corporate executive’s success. In fact, she seems to be the real brains of the organization and by 2012 standards it becomes a bit hard to believe she remains just a secretary. But this is 1936 and equality in the workplace is non-existent. Gable knows she’s good. When there is a chance for Harlow’s character to advance her own career he selfishly wants to keep her on board with him.

Directed by Clarence Brown with a script by Norman Krasna, John Lee Mahin and Alice Dure Miller based on a novel by Faith Baldwin; “Wife vs. Secretary” is both a sophisticated and a charming piece of fluff with a typically glossy MGM cast that includes James Stewart and May Robson in supporting roles. Baldwin authored more than one hundred novels, many focusing on women juggling the duel life of career and family. Other works by Baldwin made into movies include “Skyscraper,” “Office Wife,” “Men Are Such Fools” and “An Apartment for Peggy.”

Call Northside 777 (1948) Henry Hathaway

20th Century Fox produced a series of semi-documentary film noirs in the late 1940’s including “Boomerang!,” “Kiss of Death,” “House on 92nd Street” and “Call Northside 777,” the last three directed by perennial hard ass Henry Hathaway. Hathaway was a studio director, a craftsman whose work was devoid of complexity, straightforward and took no crap from anyone (see my interview with Dennis Hopper biographer Peter L. Winkler who talks about Hathaway’s battle with young know it all Hopper and how he single handedly blackballed Hopper from Hollywood films.). Despite any lack of pretension in his work Hathaway directed some fine film noirs. In addition to those previously mentioned he made “The Dark Corner” and “Niagara.”

Based on a true story, “Call Northside 777” tells the tale of Frank Wiecek (Richard Conte), a Polish-American falsely accused of murdering a police officer. (1) After spending 11 years in jail for a crime he did not commit, his story is assigned to Chicago Times news reporter Mickey McNeal (Jimmy Stewart) when it comes to the attention of his editor Brian Kelly (Lee J. Cobb). Kelly had spotted a notice in the classified ad column, a $5,000 reward for information leading to the killer of a police officer back in 1932, 11 years ago, during the height of the prohibition era. McNeal follows up on the story and discovers it is Frank Wiecek’s mother, Tillie (Kasia Orzazeski) a scrub woman in a office building who put up the reward saving her paltry salary ever since her son’s conviction. McNeal follows up with a visit to the Illinois State Pen where he talks to Frank only to find his story full of dead ends that cannot be proven. Frank though seems resigned to his fate, he will be spending the rest of his life in prison. Frank even told his wife Helen (Joanne De Berg) to divorce him and marry someone else so their son will have a full and happy family and not be haunted by his father’s past. After McNeal writes about the family, exposing their current lives, an incensed Frank demands they be left alone and wants the entire investigation stopped accusing McNeal of writing his story only for the newspapers’ circulation gains. He rather spend the rest of his life in prison than subject his kid and ex-wife to public scrutiny.

The Far Country (1954) Anthony Mann

James Stewart’s dark side is on full display in this upper north western. As usual with an Anthony Mann western the landscape plays an important part, the Canadian Rockies are majestic, though here the landscape is a combination of the natural beauty and artificial backlots whereas Mann’s other westerns were filmed entirely on location. This gives “The Far Country” a more ethereal tone that fits in with Stewart’s character, Jeff Webster, a man who isolates himself from all others in the film except for Ben Tatum, Walter Brennan’s old timer, whose death will trigger him into action.

Stewart’s Jeff Webster is a loner by choice, anti-social, he lives by his own code and depends on no one. “I don’t need help, I take care of me,” he tells Ben, the only person in the film he lets in anyway get close to him. They have been good friends for many years and Ben is very fond of Jeff. Yet, like the Canadian landscape, where much of the film takes place, Stewart remains cold and isolated from everyone else.

Rear Window (1954) Alfred Hitchcock

L.B. Jeffries (James Stewart), a photojournalist for a big time magazine is confined to his Greenwich Village apartment in a leg cast due to an accident during a photo shoot when he got a little too close to the action on a race track. His long period of convalescence is stifling. Use to being on the move, traveling to exotic places around the world, Jeffries is bored and frustrated by his inability to get around. A brutal heat wave with temperatures hovering around 100 degrees only adds to his aggravation. Bored out of his mind, Jeffries spends his days and nights, voyeuristically spying on his neighbors whose apartments are visible from his window facing the courtyard of his housing complex. The tenants are a diverse group of New Yorkers whose lives he becomes fleetingly acquainted with. They include a newlywed couple, a struggling songwriter, a lonely woman, he dubbed Miss Lonely Heart, a young beautiful dancer he nicknamed Miss Torso, and some married couples, one with a dog, another who sleep out on the fire escape, and especially one unhappy couple, Lars Thorwald (Raymond Burr) and his ailing wife.

 Jeffries girlfriend, Lisa Freemont (Grace Kelly), a high fashion model, is pushing him to settle down and get married, a concept Jeffries reacts to as if it were allergenic. Jeffries begins to focus on the Thorwald’s when he notices Mrs. Thorwald, who was always in her bedroom, has seemed to have disappeared and Mr. Thorwald, a salesman by trade, began to be going out at odd hours of the night with his sample case in hand.

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