Film Analysis Essay on "Rear Window" and "It had to be Murder"

Introduction

Films are often made or inspired by books. The events, stories, and scenes are inspired and adapted from books. Although most people love watching, they may feel uneasy and disappointed if the interpretation of the film does not match the book especially if they have read it. Hitchcock's film Rear Window does not exactly Woolrich's "It Had to Be Murder "short story. The film is an interpretation and translation of the book. The film is a traditional translation of the book as it maintains the traits book. However, details in the film are revamped and necessary fittings made. In the film "Rear Window" Hitchcock's keeps the main character from the story, themes, and plot. He, however, adds subplots and characters to lengthen the film through the use of visual styles to create a classic movie.

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Woolrich's short story and Hitchcock's films show striking similarities and differences in translation. The plot line is the same both in the movie and short story. Even though the plot was the same, some spots of the film differed from Woolrich's short story. The difference in the movie is seen with the absenteeism of Sam (Chaume 86). The director integrates other storylines which makes the film more interesting. Traditional translation is ensured as the film director often revamps events and scenes in the movie. For instance, in the short story, the writer does not indicate Jeff's profession. However, in "Rear Window" Jeff is described as a photographer. Phrases and words from "It had to be murder" translate well to visual effects in the film. The general mood in the short story is dark and plain, and it synthesizes well with the plot and theme of the film. The perspective from which the movie is short is in Jeff's house which corresponds with the readers' perspective as most of the action in the short story is often within Jeff's apartment. As viewers, all the action takes place in Jeff's apartment which makes the audience side feel they are sided with him. The actions and scenes in Jeff's apartment evoke isolation. The cameras, photographs, and newspapers around Jeff's house portray his style of living. Without the paraphernalia in his apartment, he could be depicted as another character.

The film illuminates the world created by Woolrich's story while diverging away from it. The film achieves the theatrical and melodramatic feel of the book through it's onstage set. Jefferies line of vision and scene restricts the view of both the audience and characters from his flat. The audience can see what Jeffrey can see thus making the audience curious and anxious about the events and actions taking place outside. Hitchcock uses music, different camera angles, depth of focus and lighting to capture the hyperawareness through the melodramatic tension and anxiety (Rea et al., 31). The observation of Lonely Hearts' character shows the translation of a story and characteristics to a visual film. The director of the film uses framings to show the audience the presence and intrusion of Jeffrey in the lives of the neighbors just as it is shown in Woolrich story.

In the book "It just had to be murder" the writer bases are a story on character action. He pays attention to the movements of the characters while hiding the meaning and motives of every move. He describes the details of the characters' movements. The film, however, doesn't show the detail that the book's writer created. Hitchcock uses long shots and deep focus to capture all the movement of the characters. In the book, the writer tries to capture the attention and focus of the reader to multiple characters' actions. The film translates the story through deep focusing which enables elements of an image to be in focus. The use of long shots allows the depiction of body language and shadows of the apartment without reframing. Hitchcock uses lighting to translate the anxiety and tension as depicted in the short story.

The use of long short enable film to capture haunting shadows in different scenes of the film. The use of shadows in the movie gives a dramatic tone to the scenes and characters. The director uses lights to achieve the fright that Jeffrey and other characters have because of the murder. The director's framing is visible in most scenes of the film. Framing heightens Jeff's restricted view. Towards the end of the movie, Jeff is shot at a high angle which highlights his isolation. However, in the short story, the writer's description of Jeff makes the reader develop sympathy. The high angle shot used in the movie highlights the aspect of isolation and trappings.

Although the film does not show the theme of delayed action as it is prominently depicted in the short story. Some scenes in the movie portray the idea - for instance, the encounter between Thorwald and Jeffrey. In the scene, there is a delay in Jefferies camera flash while Thorwalds is advancing to his direction. The camera delays imitate a momentary blindness feeling which enables the audience to see things from Thorwald's perspective. The theme of delayed action is also portrayed and translated to the film when the audience sense distortion of time after bright lights and action which is ensured by the Jefferies constant and repetitious replacement of the flash bulb. Throughout the film, there is a portrayal of living in the moment as it is often shown with the constant use of Jefferies camera to see the actions of his neighbors which emphasize the focus on real-time and present activities.

The director of the film uses an element of mistaken identities which creates twist and suspense. In the film Rear window, Lars is identified as a murderer. However, Lars identity is in question throughout the film. The idea of mistaken identities creates conflicting theories and furthers the film's plot.

The film is a fascinating interpretation which brings out the storyline clearly from Woolrich's short story. With scenes and events from the dog conspiracy, the murder case and Ms. Lonley-Heart happening concurrently, the film becomes interesting. Without the additional characters and subplots, the film could be dry. The visual choices used in the movie are excellent which makes the film to be entertaining. All the elements used in the film including perspective, lighting, and mood are greatly done (Kopp et al., 843). The translations and adaptation of the story's words into visuals are phenomenal. Hitchcock takes the perspective narrative and exaggerates thus creating a character that is enclosed within his apartment. The audience in the film sees what Jeff can see. The director evokes suspense, and the audience questions their notion of truth.

Works Cited

Chaume, Frederic. "Audiovisual Translation Trends: Growing Diversity, Choice, and Enhanced Localization." Media Across Borders. Routledge, 2016. 74-90.

Kopp, Kristopher, Caitlin Mills, and Sidney D'Mello. "Mind wandering during film comprehension: The role of prior knowledge and situational interest." Psychonomic Bulletin & Review 23.3 (2016): 842-848.

Rea, Peter, and David K. Irving. Producing and directing the short film and video. Focal Press, 2015, 23-32