後部 Window

For all nostalgics, voyeurs and cineastes who 見解（をとる） with trepidation the さまざまな remakes of Alfred Hitchcock's sedentary thriller about the recuperating photographer who 秘かに調査するs what he thinks is a 殺人 in one of the flats across the way, then discovers the 殺し屋 taking 目的（とする） at him.

Grace Kelly's 入り口, as a glossy magazine icon, is one of the most romantic in films, and Hitch 追加するs to her allure by subtle slow-動議 as this goddess materialises and bends over to 工場／植物 an affectionate kiss on James Stewart.

The '小型の-演劇s' going on in the apartments that Stewart watches also 与える／捧げる a 広大な／多数の／重要な 取引，協定 of fun and mystery to the movie, though the mistake that the movie made - which Hitch 定評のある ruefully afterwards - was to have the building opposite too の近くに to Stewart's 後部 window.

He 訂正するd this in a later film, Topaz, where the 活動／戦闘 that was too distant for the naked 注目する，もくろむ was 見解（をとる）d through a telescopic レンズ and really gave one the sense of 存在 an invisible man 侵入するing people's lives.

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