Replacing Your Rear Car Window
Replacing any of your car windows can be expensive, but this is especially true for the rear window. That’s because it typically requires more cleanup, it’s made from different glass and it may be hooked to a defroster. Save money by learning how to do this project own your own.
Before you get started replacing your rear window, you need to remove any attachments that are connected to the old window. This might include your rear windshield wiper, which you can likely remove with a screwdriver. Disconnect any wires, such as those leading to the defroster, and remove any trim or weatherstrip seals. You may also opt to cover your speakers and seats during this process so that you don’t spend hours later cleaning up shattered glass if it’s not too late.
Cut the Gasket and Remove the Old Window
Once everything is disconnected, use a knife or razor blade to cut the rubber gasket that’s holding the rear window in place. This may seem time-consuming, but it’ll make the entire process go quicker in the end. Be careful not to shatter the glass if it isn’t already, and remove as much of the rubber and adhesive as you possibly can. When you’re finished, remove the window. You may need an extra person to help with this if the window is still intact. Otherwise, it may fall and shatter. If the window is already shattered, be sure to use thick gloves to remove and vacuum up all the pieces.
Prep Your New Window and Gasket
Before you begin the process of putting the new window in, make sure the rear window frame is clean and free from debris. Add some sealant to the bottom of the new gasket, and put a nylon cord around it, using the groove on the gasket to hold it in place. Leave about a foot of the cord at either end so you can use it to seal the window up tighter when you replace it.
Install Your New Window
Apply a thin line of sealant around the edges of the new window, and carefully place it into the frame. Begin slowly removing the nylon cord while you press on the rubber to make sure it sticks to the window. Your partner can help with this process to ensure it goes smoothly.
Clean, Reconnect and Wait
Once the window is in place, you can clean up the extra sealant from the glass and reconnect everything you disconnected in the beginning. This includes the defroster, the windshield wiper and the trim. If you can, allow the sealant 24 hours to dry and harden before you drive the car or make any other major repairs.
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English Tutor Lessons
English tuition year 12, gender roles love & marriage in the film ‘rear window’, this resource is for mainstream english year 12 students studying the film rear window directed by alfred hitchcock for aos1: unit 3, reading and creating texts, analytical response outcome., gender roles, love & marriage are important themes that director alfred hitchcock critiques in the film rear window . these ideas should be included in essays as evidence of hitchcock’s views of 1950’s american society., gender roles in the 1950’s.
Rear Window reflects the gender stereotypes of the 1950’s in a sexist era before the feminist movement made its mark; both men and women are constrained by cultural expectations and mores [customs & traditions] that were conservative.
Jeff’s own views on women are blinkered and he typecasts many of the women he observes: Miss Torso is viewed as a sexy single blonde / Miss Lonelyhearts as a middle aged spinster / Anna Thorward as a nagging wife.
Women are valued for their beauty and physical attributes rather than their skills or intelligence. When Lisa asks how far a woman must go in order to retain a man’s interest, Jeff responds “Well, if she’s pretty enough, she doesn’t have to go anywhere. She just has to ‘be’”.
A beautiful woman like Lisa has to continually fight the perception that her function is essentially decorative and that her value lies in the way she looks, rather than what she thinks, says or does. In this society women are objectified, viewed primarily through the lens of men’s sexual desire.
Gender Divide in Work Men & Women Do
The gender divide is exemplified by the contrasting work that men and women do which reflects a traditional gender bias. Men join the Army or Police; women become nurses or work in fashion. Jeff underrates Lisa’s job in fashion because his work expects an adrenaline rush every time he goes on a new assignment, while working on a fashion magazine as a model and columnist seems mere dabbling in the workforce. The magazine represents the established dichotomy [contrast] between the active masculine role and the more passive feminine role. Jeff’s publication company works for world of news while Lisa’s fashion magazine covers models and submissive women.
Jeff and Lisa’s Gender Dynamics
Hitchcock has the ability to control our “gaze” of Lisa and the attitude he would like us to have towards her. It is apparent through Hitchcock’s Rear Window that he alludes to varying gender norms. Once Jeff is in his wheel chair after the accident, his life remained stable and unchanging in terms of scenery. However, Lisa took on the ability to walk in and out of the apartment as she pleased. This perhaps put a spin on their original relationship when Jeff frequently travelled on various adventures in order to pursue his career as a famous photographer while Lisa remained in her job in New York City. As Lisa tries to convey to Jeff that she can be the jet-setting girl he wants her to be, he frequently denies her that right to even try. He constantly pushes Lisa away and is hesitant to continue their relationship onward. He also pushes her away while he gazes at the window at his various neighbours because she is seen as a distraction.
It is only until Lisa becomes part of that scene and wears the wedding band of the murderer’s wife, that Jeff will accept Lisa as she is and fully accepts that they may soon one day get married. The ring on her finger would symbolically represent Lisa and Jeff’s trust in one another and their changing relationship. The role switch enables Jeff to trust in Lisa that she will always be there for him and he can bring her along on his adventures.
Another way we can see the gender dynamic is through the wardrobe of these two characters. Jeff is constantly wearing his pyjamas and Lisa is the one frequently changing her clothes. She transforms from wearing couture into wearing a pants, suggesting that she must change her appearance in order to please him and the lifestyle that he wants to live. The fact that Lisa works in fashion and cares about her appearance not only shows that she is a woman of class but also one of status and importance. She graciously tries to provide Jeff which a safer and practical job, the exact opposite of his current one, yet he blatantly denies the offer. He acts as if a job in what’s perceived to be a “female dominated” is not good enough for him and also is opposed to the idea of a woman providing him with a job and not the other way around.
The Thorwald Case Casts Lisa in a New Role – Gender Role Reversal
The Thorwald case enables Lisa to successfully transition into Jeff’s domain. A reversal of gender roles follows. Confined to a wheelchair, Jeff has the passive role throughout the drama, while Lisa becomes his ‘legs’ and assumes the more active role, breaking into Thorwald’s apartment to look for evidence.
By subverting conventional male and female roles, the movie challenges the gender stereotyping of the prevailing culture. The lines polarising what men and women can and can’t do have become blurred. With 2 broken legs, Jeff’s emasculation [deprived of masculinity] is so complete by the end of the film that he is no longer in a position to object to Lisa’s presence in his professional life.
Throughout the film, Lisa never loses her femininity, even when she is climbing into a second floor window from a fire escape; she does it in high heels and a floral dress that billows gracefully over the sill. However, in the final scene Lisa is dressed casually in a shirt, jeans and loafers. The message here is that due to her physical activity breaking into Thorwald’s apartment, Jeff sees Lisa differently. In effect Lisa is literally ‘wearing the pants’ in the relationship.
In the past Jeff underestimated Lisa, misrepresenting her as a one dimensional Park Avenue socialite, but since she helped solve the murder mystery and put herself at risk to do so, Lisa demonstrates that women are more than capable of being both feminine and feminist. This is a prescient [prophetic & perceptive] message for Hitchcock to send out to his 1950’s audiences, male and female alike.
To an extent it is possible to see the movie as a film about love in terms of its importance to human beings as well as the catastrophic situations which come about when love fails. It seems that Hitchcock filmed the love scenes like murder scenes and the murder scenes like love scenes. We see this in the ‘kiss scene’ when Jeff becomes aware of Lisa’s presence when her shadow falls ominously over his face, and for one second the sense of threat reigns.
At the beginning of the movie Jeff has two problems, which are intertwined throughout the film, firstly, he has defined his life by impermanence, independence and disconnection and now he is encased literally and metaphorically so that he is stilled, dependent and reliant on others. Second in his relationship with Lisa, this seems to reveal him as both neurotic and childishly frightened of commitment.
The other occupants of the apartments can be seen as representing the various roles available to women, and also the possibilities of love and marriage which Hitchcock depicts as inextricably joined. As Jeff becomes increasing obsessive in his conviction that there has been a murder in the opposite apartment, we look through his eyes into the characters’ personal lives.
It is impossible to avoid the idea that Hitchcock is suggesting that the human need for love and for connectedness to others is essential to our existence. Jeff even objectifies characters as an indication of his own human inadequacy. He uses the clichéd title of Miss Lonelyhearts combined with our position looking from the window across the courtyard controls our response to the pathos [sorrow] of her situation. The film seems to suggest that her life is not worth living without someone to love.
Marriage and Lonely Characters
If Jeff represents the emasculated post-war American man, Hitchcock’s female characters offer a range of possibilities for females in this era, though not necessarily a range of choices. Jeff’s sexist and childish fear of marriage is portrayed by Hitchcock’ as a refusal of life. To a great extent love and marriage go together in this film. Additionally out of this connection comes the idea that however difficult relationships and thus marriages are to maintain, so that they nourish and succour their members, the alternative is so painful that suicide might be the only choice.
Jeff is cynical about marriage is first revealed in the conversation with his editor Gunnison. If Lisa regards marriage as a partnership one that involves sharing and companionship, Jeff views it as a trap. Buried under his resistance is an element of guilt. He knows that Lisa loves him and a part of him also knows that it is unfair to string her along. However, using his career as the excuse for avoiding commitment, he would prefer to keep the relationship as it is. In weighing up his options, Jeff finds that his views on marriage are influenced by what he observes.
The Thorwalds mirror Jeff and Lisa. There is a superficial resemblance between the two women and each relationship has reached a crisis point. Mrs Thorwald and Lisa are also linked by their handbags and by the wedding ring. For Lisa the ring is a symbol of success, of knowledge achieved, and of hope for her own marriage. However it is also an ironic reminder of the failed marriage and the complete erasure of Mrs Thorwald.
Hitchcock also suggests that the newlyweds are on the way to a marriage like the Thorwalds. They are consumed by their sexual pleasure but by the end of the film are beginning to bicker. The film hints that there is more to understand about Miss Torso than Jeff’s reductive label conveys. The comical entrance of her husband Stanley reminds us that looks are not everything. Miss Lonelyhearts suffering is very real. Hitchcock makes it clear that her problem is the lack of love, synonymous with marriage. She is so lonely that she creates a fantasy dinner party guest, and she needs to drink to give her courage to go out in search of a man.
The composer is another lonely person. His attempt to compose his song is a thematic connector through the movie. Hitchcock links his unsatisfactory personal life with his frustrated professional life. It is his song, finally completed, that saves Miss Lonelyhearts and brings him success. Hitchcock hints at the possibility of a relationship between Miss Lonelyhearts and the composer with the song giving her a reason to live. She says “I can’t tell you what this music has meant to me”. He smiles fondly at her.
The movie ends with domestic justice – Thorwald is sent to jail, Miss Lonelyhearts finds a companion in the composer. Lisa metaphorically lets her hair down for Jeff by wearing jeans and attempts to read an adventure book. Both of the surviving women have reached their peak happiness in the prospect of marriage and both are seen in their male partner’s apartment, thus conforming to the man’s life instead of their own. With the final scene, Hitchcock imprisons the women in their endless quest to please men, with no indication of further ambitions or further capacities.
OR think of an alternative perspective on women (in particular Lisa) that Hitchcock has given viewers to consider. Why does Lisa put down the book on ‘The High Himalayas’ and picks up ‘Harper’s Bazaar’? Has she just won the gender race? Lisa is quite capable of being both feminine and a feminist. By subverting conventional male and female roles, Hitchcock challenges the gender stereotyping of the prevailing culture and sends a message to his 1950’s audiences ‘not to underestimate women’.
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The Museum of Film History
Hitchcock’s gender roles: rear window by ben elliott.
Hitchcock’s Rear Window (1954) builds a distinct view of the world and how, in the director’s opinion, men and women fit in it. In his suspense masterpiece, Hitchcock utilizes all of his favorite gender roles for his male and female characters. This movie helped pinpoint some recurring elements about men and women present in all three films that we concentrated on for this exhibit. In all three films, Men are shown as damaged and needing help, while women are shown as care-givers. Men think women are interested in money or status or success, while women are only interested in love. And men are always reluctant to take action, until the desire of the women to solve the mystery presses them into confrontation.
In Rear Window (1954), all of Hitchcock’s basic roles for men and women are present. From the very beginning, we are shown women as a sexually appealing object with “Miss Torso” across the courtyard, scantily clad and stretching for the audience to see. Throughout the film, men and women reinforce the idea of the superficial beauty that is to be desired in a woman through the characters’ dialogue. But Hitchcock doesn’t stop there. He has a natural desire to torment women who dress up, perhaps sending the opposite message, that women should wear less. As Allen, Richard, and Ishii-Gonzalès put it in their book, ““His favored male alter egos – Farley Granger, James Stewart, or Cary Grant – always appeared as sophisticates, whatever their real origins may have been, whereas when the women were dressed up as ladies they were then tormented for it, just as Madeleine Carrol was in “The Thirty-Nine Steps.” (Allen, Richard, and S. Ishii-Gonzalès 19).
“If’s she’s pretty enough, she doesn’t have to go anywhere, she just has to be. ”
The very idea is used to catch the killer in the film. For example, Lisa Fremont says at one point, “A woman going anywhere but to the hospital would never leave home without her makeup.” Women’s obsession with beauty and possessions is pivotal to figuring out that Mr. Thorwald killed his wife. The “favorite handbag,” the jewelry, and make-up all lead the characters to believe that his wife never really left the house alive.
The aspect of the “damaged” man needing help from “care-giving” women is perhaps no more prevalent than in Rear Window (1954). Jeff is stuck in a wheelchair because of a broken leg, and has to be helped to do anything. His housekeeper Stella and his girlfriend Lisa become an extension of himself that not only help him around the apartment, but also help him to do anything outside of the apartment. Eventually Lisa even sneaks into Mr. Thorwald’s apartment to help solve the mystery for Jeff.
The man as the over-analyzer role is played admirably by Jeff in the film. He attempts to apply logic to his relationship with Lisa. Him being a photographer that travels the world and Lisa being an upper-class rich girl dress designer; he thinks the smart thing to do would be to break it off. Stella, the woman as the care-giver once again, has to advise him to “leave intellect out of it,” and to “use common sense.” She even goes so far as to say “You’ve got a woman deficiency.” Hitchcock wants to send the message men over-analyzing and applying logic to relationships doesn’t work.
“Quit analyzing each other”
Men are also reluctant to be married in Hitchcock’s films. In Spellbound (1945), John thinks he’s not worth loving. In Psycho (1960), Sam thinks his debt is too much to overcome, and therefore thinks a marriage wouldn’t work. But in Rear Window (1954), marriage itself is given a negative connotation. Women are nagging husbands throughout the movie. There is a feeling, on the man’s part, of marriage being the end of life. Compounding this feeling is that men in Hitchcock’s films think money, status, and success are what women want, when in reality all the women want is love. While Jeff doesn’t think he is ready for marriage, or as he views it “the end”, Stella attempts to talk him into marrying Lisa anyway. She tells him “Every man’s ready when the right girl comes along.” But Jeff doesn’t agree.
“Sometimes it is worse to stay than it is to run.”
Hitchcock’s main message about men and women in the film seems to be that men are content to watch other people’s happiness rather than concentrate on their own lives, while women are the opposite. Jeff sits and watches everyone out his window while Lisa comes by and chides him for spying on people and always wants to close the blinds so that he will focus on her instead. In Hitchcock: Past and Future the authors comment that“…The bodies of women, matter, or sign, and heterosexuality has been up to now just an alibi for the smooth workings of man’s relations with himself.” (Allen, Richard, and S. Ishii-Gonzalès 212). The men of his films are unwilling to change, and while in Rear Window (1954) Lisa wants to think about the future, Jeff is content with the “status quo” and more concerned with what’s going on around them right now.
“We’ve become a race of peeping toms.”
Once again in Hitchcock’s films the role of the suspicious investigator is filled by a male character, this time by Det. Thomas Doyle. He questions guilt and innocence and motives of each character with his dialogue. While a big fuss has been made of “women’s intuition” to this point in the film, Det. Thomas Doyle completely degrades the theory that women know anything with, “I’ve wasted enough time following leads based on female intuition.” But it is not the Detective who ends up getting to the bottom of the mystery. Just as in the other films we focused on, it is the women who want to actually go as far as needed to discover the truth. Their desire to solve the mystery leads to the eventual confrontation of the male characters in the film, culminating with Thorwald throwing Jeff out the window and being arrested.
2 thoughts on “ hitchcock’s gender roles: rear window by ben elliott ”.
Interesting comments here. And is Hitchcock mocking men or quietly giving a nod to women in the final scene? Wearing her blue jeans and a bright colored shirt, Lisa secretly retreats into her fashion magazine while Jeff snoozes, now even more emasculated than at the start!
Two unimportant factual points I thought you might want to know about:
You note that Stella tells Jeff he’s got a “woman deficiency.” The line in both the original screenplay and the final cut of the film is “hormone deficiency.”
FROM THE ORIGINAL SCREENPLAY:
THE CAMERA PANS HER over to him. She takes out the thermometer, looks at it.
JEFF Right now I’d even welcome trouble.
STELLA (Flatly) You’ve got a hormone deficiency.
JEFF How can you tell that from a thermometer!
STELLA Those sultry sun-worshipers you watch haven’t raised your temperature one degree in four weeks.
You note that Lisa is an “upper class rich girl dress designer.”
Although Lisa’s profession is never named in the text of the film, most critics assume that she is a model.
Here is an example from TCM’s (Turner Classic Movies’) website.
Concurrent with the crime-thriller theme of mysterious activities of apartment neighbors is the struggle of the passively-observant and immobile protagonist (James Stewart), a magazine photographer who is impotently confined to a wheelchair while recuperating in his Greenwich Village apartment and fearful of the imprisoning effects of marriage. He struggles, as he does with his plaster cast, to overcome his noncommittal feelings and reluctance to get married to his high-fashion model fiancee-girlfriend (Grace Kelly). In the midst of the most tense situation in another context, she daringly flashes a wedding ring to him to clue him in with the ‘evidence.’
This author can only speculate as to why the common assumption is that Lisa Freemont is a model rather than a designer, but there are three pieces of “evidence” that point in that direction.
1. The author of the screenplay, John Michael Hayes, said during an interview included in the BONUS FEATURES on the Rear Window DVD that he based Grace Kelly’s character on his own wife, a fashion model. (The reference can be seen here at (9:05 into the interview).
2. Grace Kelly was 25 years old when she played the character of Lisa, and by most accounts, her age, beauty, pose and manner of dress were more typical of a model in New York City in 1954 than any known fashion designers of that time. Compare Kelly to the fashion designer who provided all of the costumes for Rear Window, Edith Head.
3. Perhaps the most important piece of evidence in determining Lisa’s profession lies in this paragraph, wherein Lisa describes her workday to Jeff: (It should be noted that the original screenplay differs slightly from the dialogue that appears on screen):
LISA Not a bit. I was all morning in a sales meeting. Then over to the Waldorf for a quick drink with Madame Dufresne — just over from Paris. with some spy reports. Back to the “21” for lunch with the Harper’s Bazaar people — that’s when I ordered dinner. Then two Fall showings — twenty blocks apart. Then I had to have a cocktail with Leland and Slim Hayward — we’re trying to get his next show. (Softly, looking up to him) Then I had to dash back and change.
JEFF (Mock seriousness — one girl to another) Tell me — what was Slim Hayward wearing?
LISA (Seriously) She looked very cool. She had on a mint green —
She breaks off with a little laugh, and a slight reproachful look at Jeff. She sips her drink then says:
LISA And to think, I planted three nice items about you in the columns today.
The scene as performed by the actors in the final cut can be seen at 16:25 in this youtube copy of the movie:
Lisa’s mention of sales meetings and spy reports might suggest an involvement in the fashion industry at a level higher than your average model. However, when Lisa tells Jeff: “I had to have a cocktail with Leland and Slim Hayward–we’re trying to get his next show,” this would at least indicate that Lisa works for a modeling agency since “getting his show” in the fashion world would be something that modeling agencies “get” from fashion designers or fashion houses.
LINK TO THE FULL TEXT OF THE ORIGINAL SCREENPLAY:
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“Rear Window” by Alfred Hitchcock
After watching Rear Window directed by Alfred Hitchcock in 1954, I noticed how Hitchcock portrayed gender stereotypes throughout the film. One of the gender stereotypes that Hitchcock displays in the film is the stereotype that women are responsible for taking care of men. An example is at the beginning of the film when the audience first meets Stella she takes Jeffries’ temperature and takes care of him. Additionally, Lisa brings Jeffries food and she also takes care of him. Even though Jeffries was in the wheelchair, he was still the leader telling both Lisa and Stella what to do. This follows the gender stereotype that men are supposed to be leaders and women are supposed to take care of men and children. Hitchcock displays this stereotype throughout the film. Another gender stereotype that Hitchcock showcases in the film is the stereotype that women focus a lot on beauty. In the film, both Lisa and Jeffries are convinced that the wife was killed because all the makeup and jewelry remained in the apartment and they did not believe that the wife of Lars would leave without those things. Therefore, throughout the film, Hitchcock showcases several gender stereotypes.
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Gender roles and household pressures in ‘rear window’
- Published: April 1, 2022
- Updated: April 1, 2022
- Language: English
Alfred Hitchcock uses his classic mystery Rear Window to convey his opinion and view on the societal expectations of the roles of women and men. He illustrates the negativity of if women are in position, which it uncomforts men and pressures them to escape. Additionally, the film expresses a stereotype that men believe women are interested in money, status or success, while women are only interested in true love. As a result, males in the film are unwilling to proceed further in their relationships, until the desired women force them to form a commitment.
Hitchcock’s protagonist L. B Jefferies to highlight his perspective on the stereotypical 1950s marriage. Right at the beginning of the film, Jefferies claims that his “ drastic” move is to “ get married”, and his argument about the troublematic Lisa Fremont, while Stella suggests that she is “ loaded to her fingertips with love for [Jefferies]”. These speak directly to the issue about men and women relationships at the time, which men are the ones in positions and they do not accept the opinions of women. However, as Jefferies’ girlfriend Lisa Fremont breaks this conventional expectation, their relationship is soon is tension. The businesswomen Lisa, attempts to spoil Jefferies with a luxurious lifestyle with her own “ hard earn” money, this positions Jefferies to feel uncomfortable as he is losing power in the relationship. Jefferies suggests that Lisa is “ not meant” for his photojournalist type of job, and yet, when Lisa attempts to break the relationship, Jefferies still want to retain her. Indicating that Jefferies does not want Lisa to accompany him on his when he travels, yet he desires a woman at home to serve him upon his returns.
On the other hand, the antagonist Lars Thorwald is the opposite to Jefferies as he has to serve his wife, yet similar to the female appears to have had more power. Lisa demonstrates her power, as she refuses to accept Jefferies’ suggestions and criticisms about her. Likewise, Lars does all the work for the family and never received a single praise from Anna. Additionally, while Lisa is preparing their dinner, in the opposite Lars apartment, this scene is mirrored, but the man is serving his nicely prepared meal for Anna Thorwald. Similarly to Jefferies not appreciating Lisa’s work, Anna simply ignores Lars’ kiss and throw away his flowers; instead she is more interested in the content of the dishes. Revealing the unhappy marriage between the Thorwalds, which is due to Anna’s pressure on Lars, which he is working almost like a slave for Anna. This inequality and the societal values of genders destabilizes their relationship, resulting in Lars betraying Anna and seeking for another long-distanced lady-friend even at his white hair old age. Therefore, through the two extremes of Jefferies and Lars Thorwald, Hitchcock illustrates that if the duty of husband and wife is unfairly distributed, unpleasantness will build up and it could even lead to murder.
The film indicates that men believe that women desire materialistic satisfaction, while in reality women only want true love. In Jefferies’ eye, Miss Torso is a “ queen bee” who can choose whatever men to satisfy her strong sexual appetite, and to extract benefits from those male “ drone”. However, as an experienced woman, Lisa, she indicates that Miss Torso is “ doing women’s hardest job, Juggling wolves”. This immediately changes the moral issue from Miss Torso to her suitors, which from Lisa’s perspective Miss Torso is a respectable woman who needs work hard and protects herself in the 1950s male dominating world. The film eventually uncovers that Miss Torso is indeed a married woman, and her excitement of seeing Stanley suggests that her love is always on him, despite he seems more attracted by the “ icebox”. Additionally, as Jefferies suggests that she “ belongs to the rarefied atmosphere”, he is threatened which that could not provide any physical items that he thinks can please her. In addition, Lisa can simply wear and sell a dozen of “ stock exchange” worth of cloth to his messy apartment for a night, further disconcerts Jefferies, which leads to him ruining the night and their late-night fight. However, Lisa’s money wasting actions actually suggests that she is truly in love with Jefferies, and totally accepts him and willing to change to adapt to what Jefferies wants as she claims that she “ just like to be part of it. As the film progresses, she changes and becoming what Jefferies desires, as she first brings the compact suitcase, and later courageously breaking into Thorwald’s apartment. Therefore, the film demonstrates that the male’s perspective on women is usually incorrect as women only desire their unconditional love, not the pleasured love.
Rear Window indicates that it is not necessarily that women are required to serve men in the family. However, if the roles are inverted in a highly traditional setting, an unexpected breakdown is likely to happen. Some such as Jefferies can make it through and come to a good end; some such as Lars Thorwald ended up arrested for murder. Ironically, while most women in the film desire a marriage, men try to repel and avoid the responsibilities and promises to be made.
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