Rear Window

Hitchcock's 1954 drama-suspense of voyeurism, with Jimmy Stewart and Grace Kelly.
The way that we are very much a voyeaur throughout this film, and that this voyeur role is increasingly linked with the 'man with a camera', i.e. movie camera, director, is flawlessly put across. The image of the silent Stewart in the dark is the image of the director, we have conversations with Grace Kelly that are straightforwardly to do with the ethics of the prurience of cinema.
What we found interesting on this watch is the extent to which the film is about emasculation, and in general the Kelly/ Stewart relationship. This is a film about a man being afriad to commit, and it is about how the two are brought together by peeping on others. The looking behind other's facades while failing to look at there own is heavily ironised. We have the feeling that Stewart wants to hide himself by refusing to let others hide (could this relate back to the director?), and how Kelly eventually goes along with his game.
The sounds of this film are also a key point. The use of traffic and the constant chatter of cars. The long dialogue free moments where we take in the city. Hitchcock is a master of incidental noise.
Notes on a couple of other scenes; the first appearance of Kelly is voluptuous, sensuous, perhaps Hitchcock's most 'physical' scene. The depth of the slurps and skin tones is terrifying, perhaps indicating Stewart's terror at becoming physically close to this women, who he rather preferred watching from afar.
And on the (second) last scene. It is slightly overdone, the plot is rather strainging at the leash by this point. All the same, it creates some wonderful images. Hitchcock loves to have the cooly changing and flashing artificial lights shining on the character's in physical moments of conflict, reference here to the end of 'Rope', and this slow change and outside influence gives a sense of universality and futility to the fighting.
Elsewhere, this film has been analysed nearly to death. It rightly deserves to be called a very great movie, even if it is not our own personal favourite Hitchcock, for personal reasons of identification and for a slightly obscene plot. One won't though deny that this film rightly deserves the tag 'seminal'.