Rear Window: Tale of Two Couples–Inverted

In Rear Window, Hitchcock deconstructs the bond of two couples.

The first couple is Stewart’s Jeffrie and Grace Kelly’s Lisa, who argue about the nature of their relationship and its very future.

The story that unfolds in Jeffrie’s room on the one side of the window (indoors) is the inverted image of what unfolds in Lars’ apartment, beyond and outside Jeffrey’s window.

Hitchcock told Truffaut that in the first couple, the man is immobilized while the woman moves freely (her last name if Fremon).

In the case of the other couple, the husband (Lars Thorwald) moves freely, while his wife is immobile, an invalid confined to bed.

Whereas Lars seals the fate of his wife, by murdering her and disposing of her body, Jeffrey leaves his bond open and ambiguous–until Lisa proves that she is worthy of his love by literally risking her life.

In the process of the film, Stewart’s Jeffrie begins as an emasculated man (one leg in cast, and in the end, two legs in cast).

Meanwhile, Lisa needs to become “more masculine,” by taking growing risks and engaging in what’s more typically a male conduct.