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Alfred Hitchcock: Rear Window
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[A]lmost as if he were Jeff, Hitchcock told François Truffaut in their famous interview that no “considerations of morality” could have stopped him making Rear Window, such was his “love of film”. (If anything, Wilde had gone further in the Preface to Dorian Gray: “There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.”) To which Truffaut responded with exactitude: “The morality in [Rear Window] is simply its lucidity.”
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As an adult, driving in Switzerland one day, Hitchcock pointed out the window and told a friend, "That is the most frightening sight I have ever seen." The friend looked out with alarm and saw only a priest with his arm around a young boy. But Hitchcock leaned out of the car: "Run, little boy! Run for your life!"
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Hitchcock entered the most creative period of his career in the 1950s. In quick succession he produced and directed a series of inventive films, beginning with Strangers on a Train (1951) and continuing with Rear Window (1954), Dial M for Murder (1954), The Man Who Knew Too Much (a remake of his own earlier movie, 1956), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Revolving around the wildest improbabilities, the plots of these pictures have been likened to dreams or nightmares that take place in daylight: a small town appears placid on the surface but reveals dark tensions underneath, an innocent man finds himself suddenly the object of guilt and suspicion, a wholesome-looking motel clerk is actually a crazed killer who impersonates his dead mother, and chases culminate at such familiar landmarks as the Statue of Liberty and Mount Rushmore.
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Rear Window