Recreating Alfred Hitchcock is just about impossible. Sure, we’ve had a myriad of attempts, from Chris Reeve’s bland television version of Rear Window to Gus Van Sant’s perfectly hollow recreation of Psycho. But Alfred’s the master — a filmmaker who could marry technique with story, making a film as critically exciting as it is entertaining, eliciting similar love from critics and moviegoers alike, whether the eye is trained towards technique or intrigue.
Rear Window is a little different. This is one of Hitchcock’s most respected works, but it’s also one that’s often shuffled aside when it comes to fame. There were times when it was unavailable to the eager audience at large, and the film certainly doesn’t have the sheer name power that, say, Psycho boasted. Nevertheless, Rear Window is a film that can seem, at once, both dated and modern, able to pluck at tension while also remaining relevant over 50 years later.
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