Two of Hollywood’s most ICONIC actors together in a John Ford directed western? INCREDIBLE. This isn’t an action shoot em up western film it’s a great drama with rich characters that follows a really intriguing story. It’s one of the best films I’ve ever seen so I can’t recommend this enough. // “This is the West, sir. When the legend becomes fact, print the legend.” // THE MAN WHO SHOT LIBERTY VALANCE // Seek this movie out and enjoy! #classicfilm#johnwayne#hollywoodsfinest#jamesstewart#classicwesterns
The former boxer is my great grandfather James Stewart. He’s the reason why I write, why I strive to create solidarity amongst POC, why I’m learning to never be afraid to use my voice. I love reading these old articles. I have some of his poetry on my ancestral altar. He passed long before I was born, but he’s with me all the time. Protecting, guiding, encouraging, always reminding me to adjust my crown & recognize the royalty that lives within me. His legacy, our family’s legacy, will live & shine thru me. #InsideMyDNA 🖤 #UNIA#JamesStewart#MarcusGarvey
“Deberíamos dejar de ser tan mirones y en vez de mirar tanto hacia afuera, dedicarnos a mirar más en el interior” .
LA VENTANA INDISCRETA / REAR WINDOW / 1954 🇺🇸.
- Dir: Alfred Hitchcock.
- Guión:John Michael Hayes (Historia: Cornell Woolrich).
- Música: Franz Waxman.
- Fotografía: Robert Burks.
🎖️4 nominaciones al Oscar: Mejor director, sonido, fotografía color, guión.
🏆Círculo de críticos de Nueva York: Mejor actriz #gracekelly
"Me pregunto si es ético observar a un hombre con binoculares y con un lente de largo alcance. ¿Es ético? ¿Aunque pruebes que no cometió ningún delito?
- No sé mucho sobre ética de ventanas."
Thank You All 💙
REAR WINDOW (1954)
The rear window of L.B. Jefferies is the rear view(backstory) of our lives. Where you get to see some good stuffs, some bad stuffs, some tragedies and a mystery.
It narrates the diegesis of Jeff's neighbours while he's sitting in his house watching all of them through his rear window. The set is amiably designed, so as to perspicuously apprise you the story of all the neighbours. The writing is very uncoerced. You are not feeded by information abruptly. It's really indirect and natural. Alfred Hitchcock has taken ample of time to build everything up. From his neighbours, to his career, to his love, everything is clearly elucidated as the film opens.
This scene is bonzer. In 1954, in absence of Brobdingnagian equipments, showing this struggle cogently was a challenge. Which Hitchcock passes through with facileness. Without that first person shot, it'll be just the reaction and the coruscate. But, Alfred decided to go much deeper and he involved us as well. He showed us exactly what Thorwald is seeing, which resulted in tension, suspense and time. Time for the cops and the rest of the people to get there. If you rewind the film a bit more, you'll see darkness. Now this darkness was incumbent to show the effect of the flash. Hitchcock entrenched the darkness, he made us notice that darkness with equanimity, which acted as a complimentary to this scene.
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