But I notice that you don't comment on that "alternate ending," which would change several details and certain crucial dynamics in the film if it were to be considered as the actual way the story comes to an end. Shouldn't that be covered in this essay somewhere?
And I think your interpretation of Judy's actions just before the nun appears tends to undercut most of David Thomson's criticisms of the film. Despite the brimstone-laden brio of his prose, it's hard to ultimately take him seriously if he casts a vote for REAR WINDOW as the greatest film of all time.
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