Rear Window: In the Heat of the Night

Exclusive Guest Article

By: Robert Jones

This article is the first in a series of four guest articles to appear on this page in celebration of Universal’s release ofThe Alfred Hitchcock Classics Collection.’

 “How do you know what the world is like? Do you know the world is a foul sty? Do you know, if you rip off the fronts of houses, you’d find swine?” —Uncle Charlie Oakley (Shadow of a Doubt, 1943)

In what is arguably the grimmest character portrayal in any Alfred Hitchcock film, Joseph Cotten gives voice to the darkest worldview of any of the director’s legendary villains. In Shadow, con man Uncle Charlie’s darkness is alien to the sunny outlook of his extended family in Santa Rosa, California. But, in his 1954 Paramount release Rear Window, the audience gets to witness Uncle Charlie’s malignant philosophy as legendary director Alfred Hitchcock rips open the backs of a block of apartments in Manhattan’s Greenwich Village.

Hitchcock personally regarded Shadow of a Doubt as his best film, a view he maintained even after he produced and directed what is widely regarded as the triad of his greatest films: Vertigo (1958), North by Northwest (1959), and Psycho (1960). This is quite telling: Hitch called his method of moviemaking “subjective.” From the construction of his screenplays, to the camerawork and editing that tell the movie’s story from the points-of-view of the characters that people his films, to the audience identifying with their heroes, heroines, and heavies, Hitchcock conjured films that were deeply personal.

Rear Window is Alfred Hitchcock’s ultimate projection of this philosophy of filmmaking. The movie’s theme is confinement. This is the third time Hitchcock explored this theme, by putting all the action in a single setting. His first experiment with single-set motion pictures, Lifeboat (1944), takes place in a rescue vessel as its eight occupants try to survive being stranded at sea. It was filmed in a tank built on a 20th Century Fox soundstage.

Hitch’s next entry in this genre he helped to create, Rope (1948), took place in an elaborate Manhattan penthouse apartment set, from which we can see New York City’s majestic skyline; the entire movie was filmed in a “single take,” that is, in eight sequential takes of ten minutes apiece, that flowed one to the next. Rope was Hitchcock’s most ambitious project to date, although it did poorly at the box office.

With Rear Window, however, Hitchcock ratcheted the ambition to eleven: A set of thirty-one apartments (a dozen of which were fully furnished) was built on one of Paramount’s sound stages. The floorboards were removed in sections to extend the set’s courtyard down into what had been the basement.

Motion pictures employ the art of illusion-making, and Rear Window is no exception. What you see is not what you see, but what you think you see. When I attended film school at Manhattan’s Hunter College, one of my professors mentioned how adventurous movie buffs would find their way to 125 West 9th Street, only to eventually find out that not a single second of footage was ever shot in New York! (However, Hitchcock’s insistence on verisimilitude can still be found in the rear window courtyard found at 125 Christopher Street, which was the source inspiration for Rear Window.)

The movie’s titles open up in a dolly-forward shot before cutting to a long panning shot of the self-encased courtyard, apartment buildings, and their denizens. After panning across the backyard flats of a Greenwich Village neighborhood, the camera returns home to find the movie’s protagonist, photojournalist L.B. Jefferies (James Stewart appearing in his second Hitchcock film). Hitchcock is giving us Jefferies’s backstory in a masterpiece of mise-en-scène and exposition. In one traveling pan, Hitch and cinematographer Robert Burks let the reader intuit what they need to know about Jefferies, to set up the movie’s premise:

  1. Stewart is asleep, sweat beading on his brow, in a wheelchair.
  2. He’s wearing a full leg cast that reads, “Here lie the broken bones of L.B. Jefferies.”
  3. A thermometer at an open window reads ninety-four degrees Fahrenheit. (These were in the days before most people had home air conditioning.)
  4. Next, the camera stops at a smashed up press camera, then resumes its motion.
  5. A photograph on the wall shows two race cars colliding, with a dislodged wheel flying right at you.
  6. An assortment of framed photographs, cameras, press plates, and a stack of magazines.

In forty-two seconds, Hitchcock has given us everything we need to know about who L.B. Jefferies is, what he does for a living, and how he got in this predicament. It would have taken a more conventional director of the same era at least ten minutes to explain all this through dialogue—and even then, the tale would have come off as so far-fetched and convoluted as to defy belief.

The story of Rear Window is quite simple: Jefferies (known to friends and co-workers as “Jeff”), confined to a wheelchair in a cramped Manhattan apartment, whiles away his time by observing the daily dramas of a cast of colorful characters out his back window. Jeff doesn’t even know his neighbors who populate the stage of apartment windows, doorways, and fire escapes of their own daily dramas. The characters all are named by their physical features or occupations: “Miss Torso,” the ballet dancer (Georgine Darcy), “Miss. Hearing Aid,” the over the hill sculptress (Jesslyn Fax), “The Songwriter,” constantly composing at his piano (Ross Bagdasarian), “The Newlywed Couple,” who just moved into a small apartment next to Jeff (Rand Harper and Havis Davenport), “Miss Lonelyhearts,” the frustrated middle-aged single (Judith Evelyn), and “The Childless Couple” who sleep with their dog on the fire escape to escape the heat (Sara Berner and Frank Cady). And, so on.

When I introduced my kids to Alfred Hitchcock’s movies, I chose Rear Window. Everything is so elemental, even more than a stage play. It’s as though each apartment Jimmy Stewart is peering at through his window is a comic strip panel, where stories unfold, step-by-step. Hitch and screenwriter John Michael Hayes give starkly definable roles and tasks to their inhabitants. Their behaviors, with their ups and downs, follow predictable routines. They become stand-ins for how Hitchcock casts his pictures, as Stewart stands in for Hitchcock, a giant master of puppets with a doll’s house view of his Lilliputian neighbors.

While the world outside Jeff’s window is two-dimensional, inside, not so much. Everyone who enters complicates his life, from his editor (the voice of Gig Young, via telephone), the insurance company nurse, Stella (the irascible, wisecracking Thelma Ritter), and his fashion model girlfriend, Lisa (played with a spring in her step and a lilt in her voice by a young Grace Kelly) all come and parry with the temporary inconvenienced invalid.

Jeff is cranky, bristling to everyone he speaks—often contradicting himself. He tries to one-up everyone. “Oh, stop sounding stuffy!” to editor who wants him to stay put and heal. To the working class Stella, he switches gears and comes off as stuffy to Ritter’s bluntness, in riposte to her story about how she predicted the 1929 stock market crash: “Uh, Stella, in economics, a kidney ailment has no relationship to the stock market. None, whatsoever.” He’s contentious with Lisa, who wants to turn him into a corporate man, desperately trying to domesticate him and shed his Jeep and pith helmet world traveler life, in exchange for a buttoned-down corporate persona. He’s become a man uncomfortable in his own skin, because his skin is encased in a “plaster cocoon.”

And, every day and night, he peers out the window, and slowly realizes how powerless he really is on the stage of his own recurring dramas. Until, on yet another sweltering night, there is a change. The drabbest of his neighbors, a costume jewelry salesman across the way, becomes the object of his focus: Jeff hears a woman’s scream in the dark, and suddenly becomes curious about the seeming disappearance of the salesman’s wife.

Raymond Burr’s portrayal of door-to-door salesman, Lars Thorwald, is a study in the evil of banality. He lays bare the ugly truth of Uncle Charlie’s dictum of ripping the fronts off houses and finding porcine inhabitants. But, unlike Charlie’s lady-killing charmer, Thorwald is uninspired, humorless, and drab—there is nothing dashing or cunning about him. Jeff nonetheless becomes obsessed with him, spying on him with binoculars and a telephoto lens mounted on his SLR camera. Stewart wields the camera like an M-1 carbine, lining up Thorwald in his sights.

He finds himself in his element again, and convinces Lisa that something sinister is afoot. Enter Jeff’s Army buddy and now police detective Lt. Tom Doyle (Wendell Corey), who has a rational explanation to explain everything Jeff has witnessed:

Doyle: You didn’t see the killing or the body. How do you know there was a murder?

Jeff: Because everything this fellow’s done has been suspicious. Trips at night in the rain. Knives, saws, trunks with rope, and now a wife that isn’t there anymore.

Doyle: I admit it does have a mysterious sound. But it could be any number of things for the wife disappearing. Murder is the least likely.

Could Jeff be mistaken? Is he letting his imagination get the better of him, as Joan Fontaine did in Suspicion (1941)? In the most subtle use of subjective storytelling, Jeff’s asleep in his wheelchair while missing the most crucial piece of evidence in his murder theory: Lars Thorwald leaves his apartment with a woman who’s obviously his wife, en route to the train station. By disclosing to the viewer what he’s pointedly failed to reveal to Jeff, Hitchcock always leaves the viewer thinking, and staying one step ahead of the picture’s hero. The director’s conceit pays off big-time by movie’s end.

In trying to relate his disappointment over Lisa, Stewart confides to Stella, “She’s too perfect, she’s too talented, she’s too beautiful, she’s too sophisticated, she’s too everything but what I want.” When we first see Grace Kelly, she’s exquisitely tailored in an “A steal at $1,100!” ($11,000 in today’s money) imported silk Italian dress, right off the modeling runway.

Lisa and Jeff are constantly at loggerheads. She wants to turn him into Gregory Peck in The Man in the Gray Flannel Suit, and he wants to make a homebody and travel companion of her. And, over the course of the motion picture, Kelly’s wardrobe gradually becomes plainer and less extravagant: by movie’s end, she’s wearing floral print house dresses, and simple red cotton blouses and blue jeans. Expertly tailored, of course, but much more accessible to the audience’s expectations of 1950s middle class womanhood.

In other words, without a word uttered, Grace Kelly transformed herself from Madeleine into Judy!

Rear Window is a tour de force of filmmaking. In the sixty-six years since its release, it has been one of Hitchcock’s most beloved motion pictures. Yet, a schism still exists between its partisans, and those who prefer Vertigo, which was voted atop Sight and Sound’s poll in 2012.

Most of Alfred Hitchcock’s output is constantly judged against his ultimate triad of masterpieces: Vertigo (1958), North by Northwest (1959), and Psycho (1960). He set such a high standard, his “lesser” films are constantly found wanting when juxtaposed with these three iconic movies. I can’t even count how many times otherwise objective critics and movie historians have complained that solid movies like Family Plot (his last picture, in 1976), The Wrong Man (1956), and Secret Agent (1936) fall far short of the standard Hitchcock set with Vertigo. I think they’re missing the point: only Vertigo is Vertigo; finding Beethoven’s Seventh Symphony falling far short of his Ninth Symphony is missing the point entirely. A great work of art must first be judged on its own standards.

For those armchair critics who find Rear Window lacking in subtlety of visual sophistication, I submit it is upon Rear Window’s shoulders which Alfred Hitchcock’s later masterpieces stand.

* * *

Robert Jones is a former Army photojournalist and the author and photographer of Hitchcock’s California: Vista Visions from the Camera Eye (along with Dan Auiler and Aimee Sinclair). The book is currently available for purchase at amazon.com.

Blu-ray Review: The House of Hitchcock – Limited Edition Collection

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Distributor: Universal Studios

Release Date: October 01, 2019

Region: Region A

Notes: These films are also available individually with standard Blu-ray packaging, as part of The Masterpiece Collection, and as part of The Ultimate Collection.

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Universal owns the rights to more Alfred Hitchcock titles than any other studio, and they certainly milk these properties for every penny that they are able to squeeze out of his admirers. However, one really shouldn’t complain since this gives fans an opportunity to own these films with plenty of choice as to how these discs are packaged. Each of the films available in this collection have been available on Blu-ray for quite some time (as individually packaged titles, as a part of The Masterpiece Collection, and as part of The Ultimate Collection), and these image and sound transfers are the same ones utilized for those earlier releases. What’s more, these discs include the same supplemental material. Interested parties can read more detailed information about each of the discs included in this set by clicking on the links below:

Saboteur

Shadow of a Doubt

Rope

Rear Window

The Trouble with Harry

The Man Who Knew Too Much

Vertigo

North by Northwest

Psycho

The Birds

Marnie

Torn Curtain

Topaz

Frenzy

Family Plot

The House of Hitchcock also includes the two standard definition DVDs that focus on Hitchcock’s television work that originally appeared in The Ultimate Collection:

The Best of ‘Alfred Hitchcock Presents

This new disc showcases a single Alfred Hitchcock directed episode from all seven seasons of Alfred Hitchcock Presents. The following episodes are included:

Revenge (Season 1, Episode 1)

The series premiere of Alfred Hitchcock Presents is one of the show’s best episodes. It first aired on October 02, 1955 and starred Vera Miles and Ralph Meeker. Those who admire The Andy Griffith Show will also notice Frances Bavier in a supporting role. The story by Samuel Blas follows Carl and Elsa Spann, a newlywed couple just starting their life. Elsa has recently suffered a nervous breakdown but seems to be on her way to recovery. Unfortunately, Carl returns home from work one evening to find that his wife has been attacked. When the police prove to be unhelpful, Carl decides to get justice on his own.

Vera Miles gives a great performance here—a performance that looks forward to her portrayal of Rose Balestrero in Alfred Hitchcock’s under-appreciated docudrama, The Wrong Man.

Mr. Blanchard’s Secret (Season 2, Episode 13)

Mr. Blanchard’s Secret pales in comparison. The episode first aired on December 23, 1956 and starred Mary Scott, Robert Horton, Dayton Lummis, and Meg Mundy. The story by Emily Neff revisits some of the themes better explored in Alfred Hitchcock’s Rear Window. Babs Fenton, a housewife with an overactive imagination who fancies herself a writer, believes that Mr. Blanchard has murdered his wife. However, her suspicions are called into serious question when Mrs. Blanchard shows up at their door looking to be very much alive. Babs alters her theory as to the reason behind Mr. Blanchard’s suspicious behavior only to be proven wrong once again.

Lamb to the Slaughter (Season 3, Episode 28)

Lamb to the Slaughter is rightly mentioned amongst the series best episodes. It aired on April 13, 1958 and stars Barbara Bel Geddes (who portrayed Midge in Vertigo that same year). The story by Roald Dahl follows a devoted housewife named Mary Maloney who decides to kill her cheating husband with a frozen leg of lamb rather than let him leave her. What follows is classic Hitchcock.

Poison (Season 4, Episode 1)

Poison—which was based upon another tale by Dahl—first aired on October 05, 1958 and stars Hitchcock alumnus Wendell Corey and James Donald. Harry Pope (Donald) wakes up with a poisonous snake in his bed. Worse, it finds a comfortable place to rest right on his chest. The entire episode is devoted to solving this tense predicament.

Arthur (Season 5, Episode 1)

Arthur first aired on September 27, 1959 and stars Laurence Harvey in the title role. Unusually for an Alfred Hitchcock Presents episode, the story begins with Arthur standing amongst a large number of chickens as he addresses the audience directly. After this opening monologue, we flash back in time as he tells the viewer how he killed his gold-digging girlfriend and was able to get away with it. The story itself is rather amusing, but the framing device at the beginning and end doesn’t work very well (possibly because there is already an introduction and epilogue performed by Hitchcock).

Mrs. Bixby and the Colonel’s Coat (Season 6, Episode 1)

Mrs. Bixby and the Colonel’s Coat is more benign than many episodes, but it has a very similar sense of irony. It originally aired on September 27, 1960 and stars Audrey Meadows, Les Tremayne, and Stephen Chase. The story by Roald Dahl follows Mrs. Bixby as she visits her secret lover “the Colonel,” who ends their affair but offers her a mink coat as a parting gift. She isn’t sure how to explain the coat to her husband, so she pawns the item without putting a description on the ticket. She then tells her husband that she has found the ticket and instructs him to turn it in for the pawned item. Obviously, things aren’t going to work out in quite the way that she expects.

Bang! You’re Dead! (Season 7, Episode 2)

Bang! You’re Dead! originally aired on October 17, 1961 and is the final episode that Alfred Hitchcock directed for the original half-hour series. It was based on a story by Margery Vosper and stars Billy Mumy as a young Jackie Chester—a spoiled six-year-old who mistakes a loaded gun for a gift from his uncle. The child then proceeds to pretend he is an outlaw and points it at the random people he meets throughout the day. It is only a matter of time before he actually pulls the trigger. Meanwhile, his family has discovered the mistake and tries frantically to locate him. Hitchcock’s gift for building suspense is evident throughout the duration.

Special Features:

This disc also includes a single special feature entitled Alfred Hitchcock Presents: A Look Back. Gary Leva’s 15 minute featurette is far from a comprehensive examination of the series, but the retrospective interviews with Norman Lloyd, Hilton A. Green, and Patricia Hitchcock do reveal some general information about how the show was produced and those responsible for its success.

The Best of ‘The Alfred Hitchcock Hour

The second new disc showcases a single episode from all three seasons of The Alfred Hitchcock Hour. Unlike the first disc, only the first of these episodes is actually directed by Alfred Hitchcock since he only directed a single episode of this series. The following episodes are included:

I Saw the Whole Thing (Season 1, Episode 4)

I Saw the Whole Thing is the only episode of The Alfred Hitchcock Hour that was actually directed by Alfred Hitchcock. It originally aired on October 11, 1962 and is based on a short story by Henry Cecil. Hitchcock alumnus John Forsythe portrays Michael Barnes in this Rashomon-like courtroom drama with an interesting twist. Barnes has been accused of causing a fatal car accident, but he insists that he is completely innocent and acts as his own attorney at his trial. In court, he proves that the various eyewitnesses called by the prosecution are unreliable.

Three Wives Too Many (Season 2, Episode 12)

Three Wives Too Many was directed by Joseph M. Newman and was based on a short story by Kenneth Fearing. It aired on January 03, 1964 and stars Hitchcock alumnus Teresa Wright, Linda Lawson, Jean Hale, and Dan Duryea. The story follows a bigamist who is suspected of murdering his various wives.

Death Scene (Season 3, Episode 20)

Death Scene was directed by Harvey Hart and was based on a story by Helen Nielsen. The episode aired on March 08, 1965 and features Hitchcock alumnus Vera Miles as Nicky Revere, the daughter of a movie director named Gavin Revere (John Carradine). It is best that viewers see this particular episode knowing as little as is possible about the actual story, but it is certainly one of the most memorable of the hour-long episodes.

Special Features:

This disc includes a single featurette entitled Fasten Your Seatbelt: The Thrilling Art of Alfred Hitchcock. This six minute fluff piece includes interviews with Martin Scorsese, Guillermo del Toro, William Friedkin, John Carpenter, Eli Roth, and Joe Carnahan, but none of these filmmakers say anything particularly enlightening. It is almost like an EPK created to sell the idea of Hitchcock’s brilliance without ever revealing anything that isn’t immediately obvious.

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This photograph was used to promote ‘Alfred Hitchcock Presents‘ in 1955.

It’s nice to have both of these new standard definition discs included here, but it is impossible not to wonder why Universal didn’t choose to release discs with each of the seventeen Hitchcock-directed episodes of Alfred Hitchcock Presents and his single episode of The Alfred Hitchcock Hour instead. Such a collection would have been a much more appropriate and satisfying addition to the package. What’s more, this approach would’ve only required one more disc (three instead of the two). Actually, it is ridiculous that Universal hasn’t already released these episodes together in a single collection.

In addition, one cannot help but lament some of the choices made by Universal as to which episodes to include. Some of these episodes are inferior to other Hitchcock-directed episodes from that respective season. For example, season two’s One More Mile to Go is vastly superior to Mr. Blanchard’s Secret. In fact, it is one of the best of the entire series. Of course, this particular issue wouldn’t be a problem if all of the Hitchcock directed episodes had been included.

The Presentation:

4.5 of 5 MacGuffins

HOH Contents

Universal’s ‘The House of Hitchcock’ packaging is a significant improvement over their previous Blu-ray sets. Both of those releases offered book-style packaging. This means that the various discs were housed in folder-like sleeves, and this particular approach leaves discs vulnerable to scratching and other types of damage. Since disc protection should always be a priority, it is nice to see that this collection protects the discs in actual cases. Unfortunately, three or four discs are housed together in only four cases instead of giving each film its own case and artwork. Those who believe that this is a space-saving technique are naïve. This keeps production costs down for Universal, and gives the consumer significantly less bang for the buck. Luckily, they do a fairly good job on the multi-film artwork.

A small book is also included. Those who have purchased one of the earlier sets will know exactly what to expect here. It adds quite a bit of value to the package even if there isn’t much in the way of information here (and some of it borders on being erroneous). It’s really just a fun bit of swag… and swag is what this release contains that the earlier two releases didn’t. There are fifteen art cards that feature the one sheet designs for each of the films included in the set. There are set blueprints for the infamous Psycho house, replicas of letters and memos, stationery with ‘Bates Motel’ printed on it (in case you want to make your friends back home feel envious), and a Psycho-themed “Please, Do Not Disturb” sign.

The theme and design of the package is a bit kitschy, and it is slightly bothersome that it is so Psycho-centric since there are fifteen films included here (and only one of those films is Psycho).

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Final Words:

The House of Hitchcock obviously contains a wealth of essential Hitchcock classics, but the discs included here are the same ones that have been available for quite some time. Those who already own these films on Blu-ray (either individually or as part of The Masterpiece Collection or The Ultimate Collection) can save their pennies.

Those who own The Ultimate Collection will already have the two ‘Alfred Hitchcock Presents’ and ‘The Alfred Hitchcock Hour’ discs, and those who only own the films individually or as part of The Masterpiece Collection probably won’t feel that these two discs are worth the price of the set (especially considering the fact that they are in standard definition). What’s more, the swag contained in this new release can be filed under “less than meets the eye.” They certainly don’t warrant an upgrade on their own.

Review by: Devon Powell

Book Interview: Grace Kelly: Hollywood Dream Girl

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Publisher: Dey Street Books

Release Date: October 24, 2017

A Conversation with Manoah Bowman & Jay Jorgensen

“Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.” -Grace Kelly

The creative relationship between Grace Kelly and Alfred Hitchcock was one of the most mutually beneficial in the history of cinema. It’s nearly impossible to even discuss the director’s work without mentioning Grace Kelly’s name. However, she was so much more than the master’s temporary muse. No movie star of the 1950s was more beautiful, sophisticated, or glamorous than Grace Kelly. The epitome of elegance, the patrician young blonde from Philadelphia conquered Hollywood and won an Academy Award for Best Actress in just six years, then married a prince in a storybook royal wedding. Today, more than thirty years after her death, Grace Kelly remains an inspiring fashion icon. This book by Jay Jorgensen and Manoah Bowman is being promoted as “the definitive visual biography of Grace Kelly’s unforgettable Hollywood career,” and we are happy to report that this isn’t merely hype. Filled with a dazzling array of photographs (many of which are quite rare), Grace Kelly: Hollywood Dream Girl showcases the legend’s brief yet significant acting career as never before.

Alfred Hitchcock Master is honored to have had the opportunity to interview both Jay Jorgensen and Manoah Bowman about their work, and we are proud to present that interview here for your reading enjoyment.

AHM: Tell us a bit about GRACE KELLY: HOLLYWOOD DREAM GIRL. How is this book different from previous books about the actress’s life?

Manoah Bowman: Thank you for asking. This is a very important question. The answer is in the title — GRACE KELLY: HOLLYWOOD DREAM GIRL. This is the first book to focus on Grace Kelly the actress. Practically every biography and coffee table book splits her life into two equal size sections due to the relatively short time she worked in Hollywood. Often her contribution to the movies gets shortchanged outside of the Hitchcock films so we made an effort to delve not only into these films but also her process as an actress. This book takes a more “behind the scenes” approach than any other book on her has ever attempted. Basically what you are getting is a lot less Monaco and a lot more of the movies.

AHM: I think that the book more than lives up to your intentions. How did the original idea for such a book arise, and what were the biggest challenges in making it a reality?

Manoah Bowman: This is a book I have wanted to do since I saw the Hitchcock reissues in the early 1980’s. Some of those films had been out of circulation for many years and I was particularly impressed by Rear Window. Having only been exposed to Princess Grace at that point I was awestruck by Grace Kelly the movie star, and her eye-popping introduction in that film is burned into my subconscious for life. The greatest challenge in making the book a reality was two-fold. One, finding a publisher that was okay with making the book about her movies and not her time as a real-life princess. And two, finding any photo of her that was previously unpublished. Fans are so hungry for photos of her that there are literally Tumblr pages, Instagram accounts, and Pinterest walls with every clipping, photo, and magazine cover ever taken of her. The fans have infiltrated every photo agency around the world and left virtually no stone unturned. We were fortunate to have a large collection of Grace material between us that we had been archiving for many years prior to the internet so we do have quite a few images unavailable anywhere else…at least in good quality.

AHM: The photographs are really quite remarkable. In fact, some of the publicity stills are better than the films that they were supposed to promote! Which of the eleven films made during her brief career stands as your personal favorite, and why does this film win out over the others?

Manoah Bowman: Rear Window is my personal favorite because it is a virtually perfect film and she is perfect in it. Though I may actually enjoy watching To Catch a Thief more because she seems to be having a better time with the part.

Jay Jorgensen: I think Rear Window is her best film, but I return to To Catch a Thief more often. Grace takes a character for which the audience really shouldn’t have much sympathy, and has us eating out of her hand. While Rear Window may boast a better script, Thief has the more glamorous locations and more opportunities for humor. I think by that time Grace also knew exactly what Hitchcock expected of her, and is a lot more at ease in her role.

AHM: One notices that there is a bit more material in the book about the three films that she made with Alfred Hitchcock than is included for her other films. For example, the section about REAR WINDOW includes an additional essay entitled “Dangerous Female” by Sloan De Forest, the publicity campaign manuals for all three films are included, and there even seems to be a few more photos available for these chapters. Why did you decide to include more material for these films?

Manoah Bowman: This was completely calculated on our part. Not only do we agree that these are the films she is most remembered for today, it is also readily apparent how Alfred Hitchcock and his work continues to amaze and inspire. To make this book appeal to a wider group of fans and scholars we took aim at the Hitchcock crowd as well. Our chapters on these films are more photographically in depth than any other Grace Kelly or Alfred Hitchcock photo book previously published.

AHM: How do you think working with Hitchcock influenced the actress personally, and how did this association change the public’s perception of her? Did this have any effect on the films that she made for different directors?

Jay Jorgensen: I think working with Hitchcock made all the difference. Before Hitchcock, I am not sure that any director had really taken the time to teach Grace how to act specifically for the camera. High Noon had to be shot very quickly because of the budget, and on Mogambo, John Ford was managing an enormous production on location. But Dial ‘M’ for Murder was filmed on one soundstage, and Hitchcock saw that Grace needed a lot of direction and taught her how to modulate her performance. But it was Rear Window that really put Grace on the map in the mind of the public. Grace may have had very definite ideas about the types of roles she wanted to play, and sometimes about her wardrobe, but the script and the director were the blueprints to her performance. It’s why so many people wanted to work with her. There was no temperament on the set. I think it’s a big part of why she won the Oscar over Judy Garland.

AHM: I also wanted to touch upon something that is discussed briefly in the book regarding a performance that she was never able to give. Hitchcock had originally intended to pull Princess Grace out of retirement so that she could star in MARNIE—a role that eventually fell into Tippi Hedren’s lap. What qualities do you think Grace Kelly would’ve brought to the role, and how do you think this would have changed the finished film?

Manoah Bowman: One of the single greatest regrets of my life is that I don’t live in a reality where Grace Kelly played Marnie. Marnie is my favorite Hitchcock film and I can only imagine how I’d love it even more if Grace had gotten to star in it.

Jay Jorgensen: I think just by virtue of the mystery in Marnie hinging on sex, it may have presented some problems for Grace after it was released. But both Grace and Rainier had read the script, and they trusted Hitchcock’s taste. Grace may have brought more of a warmth to the character and made her more sympathetic. But I think Hedren perfectly captured a woman who is cold and doesn’t understand her own motivations.

AHM: The book mentions Grace Kelly’s fondness for practical jokes. It was apparently a trait that she shared with Alec Guinness—but Alfred Hitchcock was also notoriously fond of pulling elaborate practical jokes on people. I couldn’t help but be curious as to whether she and Hitchcock pulled jokes on each other.

Jay Jorgensen: Hitchcock enjoyed telling bawdy stories in front of Grace to try to chip away at her ladylike demeanor. Grace was nonplussed and told him that she’d already heard all those stories when she was growing up at girls’ school.

AHM: Right. I think the book actually mentioned that and discusses her sense of humor. I think that her sense of humor (or appreciation for humor) is why she was able to work with Hitchcock so effectively… Going beyond your interest in her film career, which aspects of Grace Kelly’s life do you find the most interesting?

Jay Jorgensen: For a woman born into wealth, Grace Kelly had an amazing work ethic. It’s tough to imagine now, but things did not come easy for her. She had to really apply herself in sports at school; she worked very hard to overcome speech problems when she became an actress; when she was so unhappy with her performance in High Noon, she sought out one of the best acting teachers in New York; and she listened and learned from every director she worked with—especially Hitchcock. This discipline served her well when she got to Monaco. She could have spent her days only entertaining society ladies, but she worked hard to make Monaco a better place for its residents—especially the poor and the aged. She was an especially compassionate and empathetic person, for someone who could have rested on her wealth and beauty.

AHM: Nicole Kidman portrayed Princess Grace in GRACE OF MONACO—a film about her marriage to Prince Rainier III. I don’t believe that it was well received, but I was wondering what your opinions about that film might be. Have either of you seen the film?

Jay Jorgensen: I don’t know if the problems with that film are specifically in Kidman’s performance. The filmmakers chose to focus on a time in Grace’s life where Monaco was being threatened by a blockade from France, and Grace was also being offered the role in Marnie by Hitchcock. Then they threw in a misplaced intrigue where Princess Antoinette tries to dethrone Rainier, and a fabricated showdown between Grace and de Gaulle, and it’s all a jumbled mess. To me, the real tragedy of Grace’s life was that after serving Monaco so honorably, and raising her children, it appeared that she was just about to get her creative life back when the accident happened. Kidman didn’t try to mimic Grace, and that must have been her conscious choice as an actress. Had the film been historically accurate, or if Kidman had delivered a performance that really evoked Grace, perhaps the film might have had a chance. But Grace’s real life was almost unrecognizable in the film.

AHM: Worse, the changes didn’t result in a dramatically compelling film… How does Grace Kelly’s style differ from other actresses from that period? For example, how would it compare to Audrey Hepburn’s influence on fifties fashion?

Jay Jorgensen: I believe Audrey’s collaboration with Givenchy, beginning with Sabrina, showed she was more forward-thinking in terms of fashion than Grace. Grace was very concerned about appearing as a serious actress in Hollywood, and not a fashion plate. Therefore the “Grace Kelly look” she influenced in the fifties was a more casual or tailored look. However, when Grace began dating designer Oleg Cassini, he convinced her that dressing well off-screen helped display a certain versatility as well. So while Grace was keenly aware of what worked for her onscreen in Rear Window (made in 1954) her off-screen fashion sense was pretty conservative until 1955. But the clothes in Rear Window and To Catch a Thief look as fresh today as when they were designed. That is a tribute not only to Grace but to designer Edith Head, who had to make sure that clothes didn’t appear dated between the time a film was made and the time it was released.

A Glimpse Inside #2

Interview by: Devon Powell