Rear Window

The best thing I can say for this film is that it enhances our appreciation of Alfred Hitchcock. His 1954 original has roughly the same running time, but it has so much more going on: A dozen recurring minor characters give texture to the script and complications to the plot. The plot itself involves far more twists, turns, and red herrings, plus twice as many confrontations between the heroine and the villain. The romantic relationship is far steamier, and the climactic scene is utterly original and totally terrifying.

In this new version, the mystery story has been "streamlined" to allow more time for techno razzle-dazzle and detailed presentation of the challenges faced by the disabled every day. The cause is worthy, but the shotgun marriage of movie-of-the-week message with murder-mystery drama serves neither facet of the film very well.

There are a few effective scenes, and the actors make the most of the feeble script. Christopher Reeves may be paralyzed from the neck down, but he knows how to use his handsome, highly expressive face and voice. You won't forget Jimmy Stewart, but you do get involved with Reeves' character. Reuben Santiago-Hudson is delightful in the Thelma Ritter role, and Robert Forster is fine as the hard-bitten cop. Darryl Hannah, alas, does little with less; a star willing to take on a Grace Kelley role deserves more support from her producers!

If you'd like to support people with spinal cord injuries and see a good thriller, write a check to Christopher Reeves' foundation, then rent Hitch's masterpiece.