The director holding a camera? This is the second-to-last movie Hitchcock made before leaving England to make films in the United States. Hitchcock came to America and immediately made a splash. As Jack Favell talks to a police officer, Hitchcock makes a quick pass in the background.
Star Joel McRea is walking one way down the street, and here comes Hitchcock walking the other way. Now in America, Hitch has set aside the bowler hat he often wore in his British films for a more robust hat. Unrelated to the Brad Pitt and Angelina Jolie flick, Hitchcock walks in front of a hotel for his cmeo here.
What is he mailing? Is Hitchcock walking a horse across the frame early in the movie? Perhaps, but would he do two cameos in one film? Neither really shows his face, to be fair. This is one of the iconic Hitchcock cameos mostly because of the logistics of it. After all, this is a film about a group of people stranded on a lifeboat.
How could Hitch finagle himself in? Why by having himself appear in an ad in a newspaper. Hitchcock can be seen in the before-and-after photos for Reduco Obesity Slayer. Sometimes when you are waiting for an elevator, you have seen a bunch of people pouring out of it when it reaches you. He comes out of the elevator carrying a violin case before quickly disappearing.
A crowded elevator is an easy place for a cameo. So is a lavish party. He managed to pull it off, though. There are those who say Hitchcock and a woman are walking down the street in the opening credits.
Did you know Hitch did a movie set in Australia? This is a period piece, and you can definitely see the director on the steps of the Government House with two other gentlemen. Before his confirmed cameo, there is also a speculative cameo for the director.
Sometimes Hitch wanted to be cute with his cameos. Not this time. Or, rather, getting onto the train. The guy seemed to enjoy playing men carrying instruments with him. Hitchcock got his cameo over with early in the film. During the opening credits, you see him walking along at the top of a long flight of stairs. This is another fun one. The dinner photograph features a handful of people, one of them being Hitch of course.
In one of the homes, he can be seen winding a clock while another man plays the piano. Nothing too salacious there. On the other side of Grant, by the way, is a woman with a birdcage containing two birds. First, how interesting is it that Hitchcock remade his own film?
OK, so this is a different kind of cameo. He delivers a prologue before the credits. The man giving that prologue? That would be Hitchcock. Call it an audio cameo. Right at the end of the opening credits, Hitchcock fails to get on board a New York City bus. Better luck next time, Hitch! He just hangs out there wearing a big hat. In fact, Hitch brought in a couple of other members of his family for the fun.
Hitchcock always gave himself a brief cameo in each of his films: a non-speaking role where he'd basically appear once and never be seen again. In Rear Window , he's the man winding a mantel clock in the songwriter's apartment; we see him as Jeff's gaze moves across the windows of the apartments across the courtyard. Hitch winds the clock and turns his face toward the camera. These cameos were small auteurial flourishes, sneaky signature images that let you know that this is a Hitchcock film.
Whenever we see him, we're reminded that there's a director behind the scenes who's creating the story we're watching; it takes us outside the reality of the story for a moment. Source What's different about the Rear Window cameo is that he doesn't just appear onscreen suddenly and randomly.
We see him because Jeff and the audience have been prying. Yep—so he's part of the voyeuristic action. In a playful bit of self-analysis, Hitchcock wrote in The New York Times that his motives for inserting himself into his films were "devious, or, if you prefer a more devious word, sinister.
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