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REAR WINDOW

Universal Home Video / 1954 / 115 Minutes / Rated PG

"If one who knew nothing about movies were to ask, 'What are the movies of Alfred Hitchcock like?', you
could show them Rear Window, and in a sense touch on everything that is Hitchcock. You would immediately see
his technical brilliance, you would see his ability to tell a story in a uniquely captivating way, and you would
certainly have his humor. Thematically, you deal with voyeurism, you deal with guilt, you deal with relationships,
you deal with sexuality. It's all there in Rear Window."

- Filmmaker Curtis Hanson

Certainly one of Alfred Hitchcock's most well-known, beloved and accessible works, Rear Window is just
about as close as you can get to "absolute Hitchcock". Suspenseful, scary, sly, comedic and unabashedly
romantic, this is Hitch at the height of his creative powers. Technically ahead of its time, meticulously shot and
edited, perfectly cast and acted, and exciting as hell, Rear Window is an unequivocal classic of the cinema.

Though Hitchcock was a commercially successful filmmaker, his name above the title did not always
guarantee a hit with audiences and critics. While certainly many of his pictures were well-received at the time of
their release, such as North By Northwest, The Birds, Dial M For Murder and Psycho (all of which helped earn
Hitch the title "The Master Of Suspense"), many of his other films have only found favor years after their release.
Vertigo is a perfect example, a film which met with critical hostility and audience indifference, but has since grown
in stature and is now considered one of Hitch's finest. Thus, some critics have taken to separating Hitchcock's
canon into his more commercially successful and therefore "lessor" works, versus those "undiscovered" Hitchcock
gems that because they failed financially, are somehow of a "loftier" stature.

But Rear Window was one of Hitch's pictures to find favor critically and commercially almost immediately,
a crowd-pleasing blend of suspense, romance and comedy that didn't sacrifice artistic ambition for box office. The
story is relatively simple, and by now well-known. Professional photograph JB Jeffries (James Stewart, perfectly
cast) has been temporarily confined to a wheelchair after an accident, and spends his days watching over the
private dramas that play out among the neighbors in his courtyard apartment. He soon becomes obsessed with
one particular neighbor, who may (or may not?) have murdered his wife, JB then gets his high society girlfriend
(Grace Kelly) embroiled in the mystery and the danger, and the plot thickens...

Certainly, a great premise. But why is Rear Window so highly revered and so successful at what it does?
Perhaps because of its confined location (Rear Window, similar to Hitch's own Rope, is almost a filmed stage
play), and JB's immobility, Hitchcock has an unlimited number of ways to exploit the suspense. Without a doubt
this is typical Hitchcock, and the usual tenants get an ample workout in Rear Window - murder, guilt, black humor
and suspense. But one aspect often overlooked is that this is one of Hitchcock's few unabashedly romantic films.
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The palatable sexual chemistry between Stewart and Kelly is devoid of any sort of kinks or disquieting overtones.
As is stated in the documentary, perhaps it is Stewart's straight-arrow persona that allowed audiences to identify
more with JB than other Hitchcock heroes, and it is certainly not hard to imagine Kelly as a role model for women
of the time period (and still today.) The film is also tightly plotted, beautifully filmed and executed, and even the
minor characters are alive, fresh and well-defined.

But, heck, all of this is academic. Rear Window is a highly entertaining, classic piece of cinema that
everyone should see. So enough of my yakkin', let's just get on to the disc, shall we?

Video: How Does The Disc Look?

One of a select number of Hitchcock films to receive an extensive, expensive restoration in recent years
(along with such gems as North By Northwest, Vertigo and Dial M For Murder) Rear Window has received the
utmost care and attention. But because of the high expectations surrounding this release, and the fact that few
saw last year's very limited theatrical rerelease, many may find this new DVD a bit disappointing on first viewing. If
you've seen the restoration of Vertigo, you (hopefully) saw the same breathtaking, gorgeous image I did.
However, with Rear Window (as you'll learn in the included documentary), the available elements were in far
worse shape, and the film stock used at the time only made the restoration all the more difficult.

Given these deficiencies, it then is perhaps not all that surprisingly that Rear Window looks good, but still
has noticeable flaws. Starting with the print, let it be said Rear Window hasn't looked cleaner, perhaps aside from
its early theatrical runs. Most impressive are the blacks, which are rich, deep and stable. The print is noticeably
grainy, and while quite slight, minor speckles and dropouts are consistent throughout. Filmed in beautiful
Technicolor, Rear Window has those rich, "painterly" hues we come to expect from the process, though here they
seem subdued a notch or two from the gorgeous tones of Vertigo. While smooth and very well-balanced, and
certainly not faded, the colors here are just not quite as eye-popping and vibrant as some may expect.

As for the DVD transfer itself, it is presented in 1.66:1 anamorphic widescreen, though oddly the
windowboxing seems shifted far too much to the left. So if you have a monitor with little or no overscan, you may
notice more black on the right of your image than the left. Aside from that, I was a bit disappointed with the
amount of edge enhancement applied to the transfer. The contrast seems a tad bit overpumped, with some halos
noticeable around objects, though thankfully the color and fleshtones are stable and accurate and not
overprocessed. And despite the grain inherent in the print, I noticed no artifacts or compression pixel break up.

In all, considering the age of the film (over 50 years old now), this looks quite good, and is a considerable
improvement over all previous video incarnations. Hopefully, any overly critical viewers will watch the
documentary before making too many harsh judgments...
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Audio: How Does The Disc Sound?

Unlike other recent Hitchcock restorations like Vertigo and North By Northwest, Rear Window's original
2.0 mono soundtrack has not been remixed, even in stereo. However, it has been cleaned up, and the result is a
noticeable improvement in fidelity and clarity. Most appreciably, the sound suffers from less hiss, distortion and
flatness. Dynamic range seems better than previous VHS and laserdisc versions, and the music, too, benefits
from better fidelity. Low end is still quite lacking, however, and occasionally there is still harshness to the high
end. The track still sounds "mono", but is a bit brighter, more alive and vibrant. (Personally, I'm glad there is no
new 5.1 mix or re-recorded sound effects, though I'm sure many out there will disagree...)

Universal has also a French 2.0 mono dub, English Captions and Spanish subtitles.

Supplements: What Goodies Are There?

With at least a dozen newly produced documentaries in the Hitchcock Collection, admittedly it can be
tough after a while to approach each one with a fresh attitude, and resist pitting one against another. But the
rather oddly titled Rear Window Ethics: Remembering and Restoring A Classic definitely stands out among the
pack. Written, Produced and directed by Laurent Bouzereau, this is the most fast-paced, lively documentary in the
set, with a wealth of interviews, behind-the-scenes photographs and rare materials.

As part of the allure of Rear Window is not just the film itself, but also its impact, status and the recent
restoration, "Rear Window Ethics" has much to draw upon. According, the documentary's 55-minute run time
focuses about evenly on the gestation of the screenplay and the production of the film, as well as the recent
restoration. As Rear Window is one of Hitchcock's most beloved and accessible classics, it documentary boasts
an above-average number of willing participants. While always interesting, the reflections by members of the
filmmaking team - including assistant director Herbert Coleman, screenwriter John Michael Hayes, John Waxman
(son of composer Franz Waxman), actress Georgine Darcy and Pat Hitchcock O'Connell - are probably the more
straightforward aspects of the documentary. But more than being just an above-average look at the making of the
film, Bouzereau has included the contributors of other esteemed filmmakers, including Curtis Hanson and Peter
Bogdonavich, which adds an additional sense of perspective to the film. Their discussion of Hitch's technique, as
well as his impact, is very well integrated into the story of the making of the film, and some rare audio interviews
with Hitchcock and Bogdonavich just add to the fun.

But, in addition to an excellent examination of the production and aesthetics of Rear Window, we're also
treated to a look at the film's recent restoration. In all honesty, while I do find the subject of film restoration often
fascinating, I'm usually bored by overly-long examinations of the craft. Such documents can often become overly
technical, but by using strong visual examples, "Rear Window Ethics" remains quite accessible even to those with
little knowledge of film restoration. Harris and Katz offer welcome insights into the particular challenges they faced
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in rescuing Rear Window, and as they themselves state, it seems that the more important the film, the worse
shape its elements seem to be in! As you'll see in the documentary, this film in particular has suffered massive
deterioration over the years, and most pointed are Katz and Harris' assertion that what many call "restoration"
nowadays actually harms the film elements more than preserves. Watch this documentary to see how it should be
done.

In addition to Rear Window Ethics, there is a 13-minute Conversation With Screenwriter John Michael
Hayes. A longtime collaborator of Hitchcock's since the late 1930s, this brief interview functions as a nice
overview of Hitch's career, and includes more rare photos and footage. Similar to the James Bond discs, it would
have been rather nice to have more of these little "mini-features" to highlight various related Hitchcock topics, but
in any case, at least we get one on Rear Window. And like the other titles in the Hitchcock Collection, there is also
a still gallery included. However, this time it is a bit more unique. Presented as a montage, there are about 50 rare
promo posters and ad materials from throughout the world, as well as a collection of publicity still and production
photographs included, animated and set to music. While you can't manually skip through each frame, the
montage is well-timed, the music is a nice touch, and you can pause at will to examine a particular still in more
detail.

Also included are the usual production notes (included in both the 4-page insert as well as onscreen text),
some cast and crew biographies and two non-anamorphic theatrical trailers. The original spot is very entertaining,
while the reissue trailer is narrated by James Stewart. Rounding out the set are the usual Universal weblinks,
recommendations and subscription tips for the Universal DVD Newsletter.

Parting Thoughts

You can't really argue with a classic like Rear Window. This is one of Hitchcock's best, and with the
excellent new documentary, this is an easy recommendation. While some may be a bit disappointed with the
transfer, given the age of the film, this is an impressive restoration and a fine disc. If you don't know much about
Hitchcock, you could do worse than to start with Rear Window.
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ROPE

Universal Home Video / 1948 / 81 Minutes / Rated PG

I just don't understand people don't like Alfred Hitchcock. I suppose, as one of the most famous and
recognizable filmmakers in cinema history, he doesn't have that many dispassionate observers. But, everyone
has their critics, and today's younger, more modern audiences often fail to appreciate or fully understand his style
or influence on the grammar of cinema. So I must express puzzlement at such reactions, because when faced
with a sick, twisted little gem like Rope, how can you not cast a ghoulish little smile towards the film's delightful,
perverse pleasures?

What's not to love about a film that begins with a close-up of a victim being strangled, after which the
killers stuff him in a trunk, use it as a buffet table and then invite guests over for a dinner party? Adding to the
decadent thrills of Rope is its flirtation with (albeit subtly) subject matter that, back in 1948, was positively
unspeakable. In fact, this "It" was never muttered onscreen. What exactly is "it" that is so taboo? Well, if you
haven't seen the film, I won't spoil it for you. (Though if you're smart, you probably already know screenwriter
Arthur Laurents based Rope loosely on the Leopold and Loeb scandal that shocked the nation.) So while Rope
may indeed be a bit dated, it remains unique and stimulating because it manages to examine "it" in a way that is
still far more daring and honest than most of today's supposedly more "liberated" cinema.

While Hitch certainly has been more vicious, manipulative and baroque in his other, more well-known
works such as Psycho, Rear Window or Vertigo, never has he been more sly and off-the-cuff as he is here.
Essentially a filmed stage play, with Rope I got the distinct impression that Hitch was trying to offset the rather
grotesque situation by applying a playful, decidedly black brand of comedy to the proceedings (really, is this film
that different than The Texas Chainsaw Massacre?) And clocking in at a brisk 81 minutes, Rope almost feels like
an extended episode of his Alfred Hitchcock Presents series, which often balanced the macabre with the
comedic.

Rope is also notable for its rather ambitious technical risks it takes. With takes running for minutes at a
time - rare for a Hitchcock film - it is all up to the actors to carry the show. Interestingly, in the documentary the
filmmakers agree that James Stewart might have been miscast. But John Dall and Farley Granger are both
excellent as the killers, and the supporting cast is equally adept. Rope has been somewhat criticized for this
"filmed play" approach, but I always though the claustrophobic location adds to the suspense in a number of key
scenes. Admittedly, it can be a bit tiring (as are the rather heavy-handed and obvious transitions between the
shots) though the short running time keeps the pace snappy. While Rope is not Hitch's most successful film, it
remains quite innovative for its technique as well as its subject matter, and well worth seeing for any serious fan
of the auteur's work.
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Video: How Does The Disc Look?

Presented in its original 1.37:1 aspect ratio, Rope's transfer is a bit of a mixed bag. While free of the
excessive grain and noise that plagued some of the other Hitchcock Collection titles like Family Plot and
Saboteur, black level is poor. The majority of the picture often seems faded, with somewhat weak colors and
noticeable "flashing" or dropouts. The print is fairly good, though noticeable nicks and scratches are common.
Contrast is fine, though there is a slight ringing around edges, a sign of overcompensation with the edge
enhancement in an attempt to increase the contrast. Detail is fairly good, and compression pixel break up is rare.
In terms of its place in the Hitchcock Collection, Rope falls somewhere between the gorgeous remasters of Rear
Window and Vertigo, and the atrocious "left in someone's closet for 20 years" transfer of Family Plot...

Audio: How Does The Disc Sound?

Like most of the Hitchcock titles, Rope is presented in 2.0 mono. Fidelity is quite limited, with no sense of
dynamics, paltry low end and some distortion throughout. But since the film is heavily dependent on dialogue, at
least it is clear and consistent throughout. For a mono track, fair enough.

Universal has also included French and Spanish 2.0 mono dubs and English Captions only.

Supplements: What Goodies Are There?

Of all the new Laurent Bouzereau documentaries produced for the Hitchcock Collection, Rope Unleashed
is probably closest to the feature it documents in terms of tone and style. As the film is essentially a filmed play
with a small cast, the documentary consists solely of recollections by four individuals. Screenwriter Arthur
Laurents, whose script was the driving force of the project (behind Hitch, of course) is given the most screen time,
and is the most fascinating. Frequent participant Pat Hitchcock O'Connell of course makes her appearance, as
does collaborator Hume Cronyn, who also offers some early comments on the initial gestation of the project, and
Actor Farley Granger (whom I would have liked to have heard more from, to be honest.)

The most interesting aspects of Rope are most undoubtedly its controversial subject matter and the
innovative nature of the production, which the documentary focuses on accordingly. Oddly enough, Laurents
remembers that no one, not even Hitchcock, would admit all throughout the production that the film was based on
the Leopold and Leob case, nor reference the dreaded "it". Equal time is spent discussing the difficulties in the
production, and the documentary also benefits from some good (if silent) behind-the-scenes footage and stills.
Running a little over 30 minutes, Rope Unleashed is a fine addition to the Hitchcock Collection.

While the documentary is of course the main attraction, the still gallery of onset production photographs
and some promotional materials is still rather slim. About 40 black and white photos are included, though most
can be seen in the documentary itself, and there is no supporting text or documentation provided. Also included
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are the usual production notes (which unfortunately are not reprinted in the pithy insert in the keepcase, only
onscreen) some cast and crew biographies and a rather scratchy reissue theatrical trailer.

Parting Thoughts

Rope is a strong entry in the Hitchcock canon, though often overlooked. The transfer is fairly good, the
sound mix undistinguished, but the documentary strong. Though I would have enjoyed better text documentation
included as part of the package, this is worthy buy for Hitchcock fans, and worth renting if you've never seen it
before.

BEN-HUR

Warner Home Video / 1959 / 212 Minutes / Rated G

"In the year of our Lord, Judea for nearly a century had lain under the mastery of Rome. In the seventh
year of the reign of Augustus Caesar, an imperial decree ordered every Judean each to return to his place of birth
to be counted and taxed. Converging ways of many of them led to the gates of their capital city Jerusalem, the
troubled heart of their land...Even while they obeyed the will of Caesar, the people clung proudly to their ancient
heritage always remembering the promise of their prophets that one day there would be born among them a
Redeemer to bring them salvation and perfect freedom."

Easily one of the true landmark motion pictures of our time, what can one say about Ben-Hur that hasn't
already been said? The most expensive motion picture ever made in its time, William Wyler's epic production was
a huge critical and commercial success, sweeping the Academy Awards (winning a total of 11 Oscars, a record
only just recently matched by Titanic in 1997) and even saving MGM from the edge of bankruptcy. Ben-Hur is the
kind of grand entertainment they "just don't make anymore", full of rousing adventure, lavish locations, grand
melodrama and sets and costumes so epic in scale that today's CGI-effects just can't match it for pure spectacle
and head-slapping "Wow!" factor.

For me, this DVD was particularly exciting, as I'd never seen the film before. But I was worried...would
Ben-Hur date badly? Would I laugh at the costumes, the outmoded technology, the classical acting style so long
out of sync with today's sensibilities? Admittedly, I did snicker a little. Let's face it, men standing around in these
costumes on fake sets does require some shift in perspective. But once you allow yourself to be submerged in the
picture, it is easy to see why this film is a classic. Charlton Heston, an actor who has arguably lost some stature
as an actor over the years (as have some other iconoclastic actors of the day, such as John Wayne), is perfectly
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cast here. Sure, he is supposed to be playing a Jewish nobleman, but where's your suspension of disbelief? (He
also played a Mexican in Touch Of Evil, and that film is still considered a classic, right?) While some say his old-
school, almost theatrical acting style lacks subtlety, he has a commanding screen presence that completely
anchors the spectacle.

A film like this needs it, as its heightened emotions could just plain seem silly if the actors downplay the
material. And interestingly, the film is still often thought of as some sort of biblical polemic or treatise. While the
film is certainly steeped in Judeo-Christian mythology, the truth is (as you'll learn in the included documentary)
that the character of Ben-Hur is an entirely made-up creation. So regardless of your religious beliefs, don't be
scared off. And anyway, how can you argue with such spectacle!? Ben-Hur is widely regarded as one of the
greatest action adventures ever created, and some of these sequences stand up to anything made today. The
sea battle, the rescue, and of course the chariot race remain breathtaking. Perhaps because there was no CGI
trickery back then, this was all "real", and is jaw dropping. While I do find the film a bit overlong at nearly 3 and 1/2
hours, this remains a thrilling, timeless epic that any self-respecting movie lover just has to see.

But enough of my ramblings. You're already sold on the movie, you just want to know how the disc is,
right? Let's find out...

Video: How Does The Disc Look?

If ever there was a movie that put the word "wide" into "widescreen", it is Ben-Hur. Presented in 2.76:1
anamorphic widescreen, this is one panoramic picture. If you know anyone who hates letterboxing, Ben-Hur is not
the film you should use to try and convince them otherwise. Even for a widescreen lover like me, the very large
black bars do make the picture pretty dang small, unless you have a really big TV. Still, this film just looks so
horrible cropped, there is only one way to go, and that's widescreen!

Politics aside, how is this transfer? Like most restored older films, it looks very good though still has some
noticeable deficiencies. First off, the print used is very clean. Only very minor blemishes are apparent, and
nothing distracting. Black level and contrast are excellent, and colors very well saturated. The film is very
"orange", so fleshtones vary accordingly, though this seems representative of the original intent of the filmmakers.
I did notice some grain in the print, and it seems a tad too much edge enhancement was employed for my taste,
giving the film a bit too "shimmery" of an appearance and accentuating hard edges. Colors also seems a bit too
strong, so while detail is good, sometimes fine shadow delineation seemed obscured or muddled. But, overall,
this is a fine remaster, especially for a film over 40 years old.
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Audio: How Does The Disc Sound?

Along with the anamorphic transfer, Warner has included a Dolby Digital 5.1 surround mix, which is fairly
recent and made about 4 years ago. Like most mixes of older soundtracks, the quality is a bit difficult to ascertain.
Overall, this is an aggressive mix, with strong, consistent use of the surrounds, but which are not overdone. While
on many occasions the rear channels seemed to be essentially mono, there were some moments with subtle and
discreet employment, and overall ambiance is good. Imaging between the front and back channels is good though
sometimes obvious. The front soundstage is also nicely balanced, though truth be told the dialogue sounds dated
and only emanates from the center channel - I noticed no stereo separation of the dialogue. There seems to be a
lack of dynamic range that doesn't detract as much from the music and effects, so despite the very well-balanced
mix, occasionally elements of the track didn't always seem to "match". Low end is fairly strong, though can't
compete with a modern soundtrack, and occasionally sounds a bit flat. Still, for a 5.1 mix of a 1959 film, this is
quite effective.

Warner has also included a French 2.0 surround mix, English Closed Captions and subtitles in English,
French, Spanish and Portuguese.

Supplements: What Goodies Are There?

So long is the epic that is Ben-Hur that even a mighty dual-layer disc couldn't contain it all. The the film is
spread over two sides (with the side break placed at the intermission as it was exhibited theatrically), and Warner
has decided to go with a DVD-18 (double-sided, dual-layer disc) instead of the generally more popular 2-disc set
configuration. Personally I like having two discs, as the labels are easier to read. (And as of today, you can pick
up a dual-disc DVD player relatively cheaply, though no manufacturers currently make any models that can
actually play both sides of a single DVD without requiring you to get up and manually flip it.) In fact, the label on
Ben Hur is so small that I couldn't even tell which side of the disc was Side A and which was Side B...

Anyway, as for the included supplements, the overall presentation is somewhat hit or miss. After the
static, rather blah menu (which side B, by the way, defaults to as well), the standout extra is probably the nearly
60-minute documentary Ben-Hur: The Making Of An Epic. This was made by Turner in 1993, so although not
new, it is uniformly excellent. Narrated by none other than Christopher Plummer, this is expertly crafted, and
producer Scott Benson has assembled quite a roster of talent to participate. In addition to Plummer the
documentary includes interviews with cast and crew including MGM executive J.J. Cohn, composer David
Raskim, second assistant director Yakim Canutt, actor Edward Cavanaugh, Jr and editor Ralph Winters, as well
as rare audio and video clips with William Wyler shot before his death in 1983. Today's Hollywood also reflects
back on the importance of the film, including Gore Vidal, film historian Rudy Behlmer, Catherine Wyler, effects
guru Richard Edlund and stuntman Joe Canutt. The documentary is also well-supported not only with film clips
and topnotch editing, but plenty of terrific still photos, newsreel and TV footage and excerpts from the 1907 silent
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film version of Ben-Hur. But perhaps most impressive is how well-researched this is. More than just a behind-the-
scenes look at the actual production, the documentary traces the roots of the story, the play, its various cinematic
incarnations, the genesis of the script, the much-discussed sexual ambiguity, the awards and of course the actual
making of the film. Even with a full hour, this is a lot of ground to cover, and Ben-Hur: The Making Of An Epic
handles it very, very well.

As Charlton Heston is notably absent from the documentary, Warner seems to have attempted to make
up for his absence with a new screen-specific audio commentary with the actor. However, this is not quite full-
length, and technically the presentation of this commentary is somewhat unique. At first, when I couldn't access
the commentary via my remote's audio button, I thought perhaps the feature had been dropped (it is there, but
you can only access the track from the menu.) Because Heston's comments - though screen-specific - do not
quite fill the entire running time, there are long moments of silence. However, Warner had included a subtitle
feature that alerts you to skip ahead to Heston's next section of comments with an onscreen arrow indicator (as
seen in the still pictured below.) While indeed Heston doesn't comment on the entire film, he is present through
most of it, so this is no bait and switch. I must say, he has a very commanding voice, and is very articulate,
intelligent and full of stories, recollections and even a bit of nostalgia (rare for Heston) on the making the film.
Compared to some pretty terrible actor commentaries I've heard (Mel Gibson, anyone?) this is a very solid track,
and how about doing some more, Mr. Heston?

The rest of the supplements are a bit hit-or-miss. While the documentary includes excerpts from two rare
screen tests, the DVD includes the full versions of them as an additional supplement. One even includes a young
Leslie Nielsen, and I dare you to keep a straight face during this one! The screen tests are in full frame and 2.0
mono sound. There is also a photo gallery, and though nicely laid out (and there are even some brief text
comments for some of the stills), it only inlcudes - no joke - about a dozen pictures. Guess there wasn't much left
in the vaults after the documentary? A theatrical teaser and trailer are presented in non-anamorphic widescreen,
and these are actually promo spots made post the film's big Academy Awards win. Truth be told, I actually
couldn't tell them much apart. Finally, there are Cast and Director Career Highlights listed on the back of the
packaging, but I couldn't find them, only an Awards list.

Parting Thoughts

A true epic of the cinema, this is a must-own for lovers of classic film. Warner has put together a nice disc
with a strong transfer and sound mix, and pretty solid supplements. Though truth be told the previous laserdisc
featured considerably more supplements, this is a very good deal for $24.95, and a four-star home run all the
way. Seek, and you shall find riches...