Cameras in Movies part n+3: Rear Window

<p><em><strong>Rear Window</strong></em> (1954) -- a camera odyssey<br />As we've discussed here, and many times previously, this one really belongs in Classic Manual Cameras.<br>

<em>some Photo.net posts about this one</em><br />http://www.photo.net/classic-cameras-forum/009F9p <br />http://www.photo.net/classic-cameras-forum/00E1dZ <br />http://www.photo.net/classic-cameras-forum/00VBtt <br /><br /><br>

<br />http://en.wikipedia.org/wiki/Rear_Window</p>

<blockquote>

<p><br />Professional photographer L.B. "Jeff" Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. He begins to suspect that a man across the courtyard may have murdered his wife. Jeff enlists the help of his high society fashion-consultant girlfriend Lisa Freemont<br>

from http://www.imdb.com/title/tt0047396/</p>

</blockquote>

<p><br /><br />I was interested to see the films involved -<br /><br />Color (Eastmancolor) (negative)| Color (Technicolor) (prints) -<br>

It's labeled Technicolor, but that was only the prints, so extensive restoration was necessary in making the newer restored DVD release from the much battered original negative.<br /><br /><br />The film explores the issue of voyeurism at some length:<br />As the nurse Stella (Thelma Ritter) tells Jeff (james Stewart)</p>

<blockquote>

<p>The New York State sentence for a Peeping Tom is six months in the work house...They got no windows in the work house. You know, in the old days, they used to put your eyes out with a red-hot poker. Any of those bikini bombshells you're always watchin' worth a red-hot poker? Oh dear, we've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes, sir. How's that for a bit of home-spun philosophy?</p>

</blockquote>

<p>Jeff spends a lot of time looking at "Miss Torso" (Georgine Darcy). (wink, wink, nudge, nudge, say no more).<br /><br /><br>

An additional, but not quite explicit theme is impotence - a photographer who can't do his craft because he's stuck in a wheelchair while his leg mends. Jeff has trouble popping the cork on a champagne bottle, for one example.</p>

<p>Given how important the (long) lens is, it actually doesn't appear until about 43 minutes into the film. Although there is some kvetching about the camera being held wrong (relating to the left side release on the Exakta), this really is not at issue, since I don't think he does much but use the camera as a viewer for the telephoto.</p>

<p>However, cameras play an important part in the initial film moments.</p>

<div></div>

<p>This is said in some discussions to be an 8x10 camera - an odd choice for taking race car pictures - it was this photo that resulted in Jeff's broken leg, bTW.</p>

<p>Anyone care to identify the camera? I have no idea.</p>

<p>The same introduction film then pans to other cameras to establish Jeff's occupation.</p><div></div>

<p>That is almost certainly a Rollei, probably Rolleiflex to the right, and perhaps a Contax III version to the upper right.<br>

Is the press camera a Linhof, or what?</p>

<p>Here's the first shot of the lens, at 43 minutes. I've hdef'd the heck out of it trying to show more detail.</p><div></div>

<p>Here's the first shot of the Exakta camera (almost certainly a VX - see http://captjack.exaktaphile.com/Exakta%20VX%20&%20Varex%20VX%20Page.htm )</p><div></div>

<p>Here, the lens is being mounted -</p>

<p>I've tried to ID the lens. Whatever it is, I don't have it, and I couldn't find anything that looked liek the same combination of silver and black at Captain Jack's site.</p><div></div>

<p>Does that lens cap say ISCO? maybe. Not much like anything at http://captjack.exaktaphile.com/Isco%20page.htm </p>

<p>Here is the best shot of the Exakta (name covered) and the lens. There is just not enough detail for me to read the lens bezel inscription.</p><div></div>

<p>In an earlier discussion a few days ago, the issue of how the "telephoto" effect was presented came up.<br>

It's true that a circular image was shown, but with fairly realistic vignetting rather than a clearly defined circle edge as in a cartoon or the Exakta ad of the time.</p>

<p>Here is "Lars Thorwald" (a pre-Mason Raymond Burr) seen through the lens.<br /><br /><br /></p>

<p> </p><div></div>

<p>Well, that's that. I promise I won't do this again very soon, but as an Exakta enthusiast, I couldn't help myself -</p>

 

<p>JDM, my first thought about the lens was Kilfitt...and then Mayer. Anyway my first instinct was correct.</p>

<p>https://www.google.com/search?q=kilfitt+lenses&biw=1607&bih=990&tbm=isch&imgil=AH6lRxNJzHt7CM%253A%253Bhttps%253A%252F%252Fencrypted-tbn1.gstatic.com%252Fimages%</p>

<p><br /> But, I did some analysis and the studio/producers/Hitch went for the old <strong>illusion</strong> (following Holly convention) by darkening the edges. Sure, that mask could have been created in the film gate or done in the lab. Anyway, with little ingenuity, the view through the lens could have had much more <strong>authentication</strong>. One way to accomplish this is is by removing the "ftn cap" (Exacta had its own name for it) if in fact once could do that, and film the focusing screen in macro. I'm speaking from experience, where I rigged such a set up for one of the films that I've made.</p>

<p>Les</p>

<p>Although there are some trim differences, the Kilfitt 400mm f/5.6 looks good.<br>

http://www.cameraquest.com/kil400.htm<br>

says it is the one.</p>

Looking at the images above and those of a Fern Kilar 400 mm, i don't even think there are trim differences, JDM.

<p>I'd guess the smashed camera was a Graflex, the 4x5 SLR. Not a bad choice for race car photography in its day.</p>

 

<p>Thanks, JDM, for bringing up one of my all-time favourite movies in 'Rear Window'. I can vouch for the improved quality of the digitally remastered edition (especially in Blu-Ray format), because I've just bought one of these DVDs and the difference over the 'old' version is amazing. (Pete In Perth)</p>

<p>So to summarize, the lens is a penis substitute for the impotent wheelchair-bound photographer. :) </p>

<p>After I saw Robin Williams in "One Hour Photo" I stopped volunteering info that I have a darkroom at home, photographers in the movies and cop dramas are usually portrayed as psychopathic freaks.</p>