L.B. Jefferies says "I Do"?

Alfred Hithcock proceeds to unveil the mystery of a marriage gone wrong in his 1954 crime thriller “rear window”. In the opening scene immediately following the credits, we are introduced to protagonist L.B. Jefferies. Without the use of any dialogue and only a brief camera panning moment we can easily draw conclusions on Jefferies occupation as an action photographer, and probable cause of his temporary immobilization, through the displaying of enlarged photos documenting dangerous sports accident, war scenes, and other catastrophes. These assumptions are soon confirmed when Jefferies’ editor calls on the phone, and briefly discusses the situation with Jefferies. The editor reveals to Jefferies the ill timing of his misfortune and tells him he will be missing an assignment. At this comment Jefferies begs for his editor to get him out of his predicament, claiming to him that “If you don’t pull me out of this swamp of boredom, I’m gonna do something drastic…like what? I’m gonna get married and then I’ll never be able to go anywhere.” This quote illustrates Jefferies’ discomfort towards the restrictions of marriage, a formal union that is seemingly ubiquitous in his rear courtyard. Many parallels can be drawn between the relationships of his neighbors and the relationship between him and his girlfriend, Lisa Freemont. These similarities can be found through the vast breadth of information acquired through viewing the courtyard using the invasive paparazzi style that Jefferies has become accustomed to.
Through a quick glance at a thermometer reading scorching temperatures in the opening scene accompanied by a shot of our protagonist sweating profusely. The reasoning behind every neighbor’s window being wide open immediately becomes clear. This apparent heat wave combined with photographers’ tendency to nose into others people affairs, offers justification for Jefferies’ voyeurism. Through this harmless sight seeing, connections between Jefferies’ relationship with his girlfriend, and that of his neighbors, becomes prevalent. Through the first window we gaze into, we are introduced to a grouchy neighbor, Thorwald, who is initially shown arguing with his sick, nagging wife. She is shown covered up in bed in the adjacent apartment window, offering a feeling of separation. This nagging that Jefferies also finds in his own partner, pushes him to draw conclusions about how he and Lisa will end up like Thorwald and his wife, unhappy to say the least.
With the use of an interesting camera angle that insists we are peering directly through Jefferies window we are introduced to a seemingly fascinated newlywed couple. They embody the types of optimistic high hopes in which Lisa holds for her and Jefferies’ potential marriage. While the drawn curtains hint at the quenching of the newlyweds sexual appetite, it is the later appearance of the man hanging out of the window, relieving stress through a cigarette, that appeals to the sexually impotent Jefferies. He believes despite their initial attraction and seemingly potent love connection that due to her being a “park avenue” woman and “too-rich”, that they would never be able to make it work out. The possibility of Lisa being incompatible with Jefferies traveling lifestyle further deters the likelihood of their marriage.
Another comparison, not to a couple in a relationship, but instead to an individual, is seen through the viewing of the middle-aged lady, whom Jefferies dubbed ‘Miss Lonelyhearts’. ‘Miss Lonelyhearts’ is seen alone, setting a table for two. An odd occurrence, considering the gentleman, for whom she is waiting, never arrives to attend the dinner with her. She even goes as far as pantomiming his arrival, possibly in an attempt to mask her loneliness. While ‘Miss Lonelyhearts’ is acting out her evening date, Jefferies, intertwined in a conversation with Lisa, raises his glass, and offers ‘Miss Lonelyhearts’ a toast. This kind gesture goes unacknowledged by ‘Miss Lonelyhearts’, symbolizing Jefferies’ own loneliness and inability to commit. Despite this being cognizant to the audience, Jefferies again displays his stubbornness and voices his unwillingness to change through an indirect comment he makes. “Well at least that’s something you’ll never have to worry about”.
Obscured behind the storyline of the blatant murder mystery lays the love tale of L.B. Jefferies and his fashion model girlfriend Lisa Freemont. Since we are constrained at home with Jefferies we are allowed to view only what Jefferies sees as potential future outcomes if he chooses to get married. These views are built off of several factors. His marriage is not acted upon due to flaws he sees in his seemingly perfect girlfriend, the constant freedom awarded to him through his job and his current physical state which unconsciously reminds him of what a pain it is to be tied down and inhibited. This heavily biased opinion Jefferies holds is influenced not only by the internal factors, but more importantly by the external examples of relationships which he encounters daily through his apartments rear window.

Albert Williams