Alfred Hitchcock's "rear window" celebrates its 71st anniversary later this year, but redirects it in March 2025, the film playing differently than it was before.

If you've never seen it, or you need a conspiracy refresher, the film starred in Jameses Stewart as a photographer who broke his leg and is limited to his Newouper app while recovering. Boring from his mind after he has been there for weeks, he begins to watch his window and spy on his neighbors, just to notice any of them participating in some ... suspicious activity, and he becomes obsessed with what he realizes what is really going on.

Looking at the film again this week, I was struggling with how many similarities there are with what we are now experiencing. The modern equivalent of staring through the window to our neighbors seems to be looking at our phones, which give us a window to a much wider world, and I suspect many of us feel like we are Stuart's character, unable to actually do Much despite witnessing crimes with varying degrees practically every day. Whether it is so Bombs that still descend to gauze during an alleged ceasefire or watching Donald Trump and Elon Musk have spoiled the rules and essentially disassemble the constitution before our eyesThere is a brazenness to these world events that reminds me of Lars Torvald (Raymond Boer), the dark neighbor who barely struggles to mask the crime he has committed. There is an arrogance of the character and these today's figures that there will never be negative consequences for something they do.

The film has two particularly frightening moments. One is when Stewart sees Grace Kelly's character in Torvald's apartment to get evidence that Torvald killed his wife, and Torvald unexpectedly returns home and begins to attack her. Stuart extinguishes and fogs while watching from afar, but he is in his feet and temporarily stuck in a wheelchair - there is nothing to do to do to save her.

The other frightening moment comes during the end of the "rear window", When Torvald comes to Stewart's apartment and attacks him. Stuart is able to set up a bit of a fight with the help of his camera flashbacks to temporarily blind his striker, but the bright brightness of this villain is not enough to prevent him - he charges forward and eventually expelled Stewart from the window. Fortunately, in the film, the police are there to crash Stewart's fall and arrest the bad man. But given that this country's social security network is part of what is actively erodedand seems to have no legal consequences for war crimes or Encouraging or Participation in the uprisingIt feels like we will not be lucky when our villains come directly to us.

Writer Johnon Michael Chase, adapting a short story by Cornell Wulich and inspired by more murders in real lifeBusy in something with this story - something universal that has managed to keep McCarthism, the Cold War and any number of other metaphors' audiences have been concerning it for the past seven decades. (I completely forgot until this minute she I previously wrote about how a metaphor for quarantine life during the earliest days of the pandemic.) Hitchcock, one of the most filmmakers the world has ever seen, is probably best known for "Pyscho", "Vertigo" and some of his "Wrong Man" classics, but the "rear window" may be the most timeless film of his incredible career.

I spoke a little about the movie of today's episode of /film daily podcast, which you can hear below:

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