movieline
Grace Kelly, Rear Window
by Joshua Mooney
There's a mystery at the center of Alfred Hitchcock's Rear Window and it sure ain't whether the traveling salesman murdered his wife. That Macguffin merely sets us up to ponder the strange romance between Grace Kelly and Jimmy Stewart. Kelly's character is, at least to the audience, irresistible: a perfectly turned-out society girl, all goodness and style on the outside, all seething passions on the inside. But photojournalist boyfriend Stewart would rather sit in his wheelchair and spy on neighbors than succumb to her. "She's too perfect," he mutters lamely, his broken leg eternally erect in its plaster cast. One of the most profound delights in Hitchcock's masterpiece is the witty, seductive performance Kelly fashions as she slyly campaigns to convince Stewart that, in all her perfection, she's just as "bad" as Miss Torso, the undulating dancer across the courtyard whom he finds so appealingly imperfect. Like her Rear Window character, Grace Kelly had her own image dilemma by the time of this, her fifth film. Studios and audiences saw in her what Stewart complains about, the cool perfection--she was considered serene, regal, untouchable. Kelly, of course, knew better--as we all do now, thanks to the eventual revelations about her many passionate Hollywood affairs--and she shows it here: she plays her character as a ravishing exhibitionist who loves being looked at and wants to be handled too, by the right voyeur.
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Stewart's persistent rebuffing of Kelly's character makes us wonder for a moment if maybe he's right about her, but Kelly counters that notion from her first scene. All we know of her at this point is that she's some kind of high-society confection; then, suddenly, there's Kelly in intimate close-up, smothering Stewart's face with tiny kisses, murmuring salaciously all the while. When Stewart acts as if he hasn't got a pulse, Kelly backs off and resorts to runaway model mode, gliding from lamp to lamp as though she's floating an inch off the ground, switching them on while announcing herself, and then posing in a stunning Edith Head original, every inch the cover-girl Kelly herself once was. Rear Window's most blatant sexual images come from the contortions of the aforementioned Miss Torso, but Kelly's natural style and grace are what's really worth noticing, as she sweeps through Stewart's tiny apartment as if it were a ballroom.
To get Stewart to see her for what she is, Kelly ultimately has to cross the courtyard so he can watch her, from the distance he prefers, doing things no decent society girl would ever do. We, of course, were never all that confused about her potential. We heard her say, "When I want a man, I want all of him." Kelly's perfect, breathless bad-girl delivery, worthy of Rita Hayworth but coming from this WASP princess, was a blatant signal that her society girl was ready to free-fall into the danger zone. When bad girls are bad, they're good; when good girls decide to be bad, they're better.