Castration in Rear Window

Alfred Hitchcock's Rear Window has been as a perfect example of narrative cinema. The action takes place inside of a single room, only seeing the outside world through a window. Focusing on one character, L.B. Jeffries played by James Stewart, allows the film to keep the audience contained in the room with the crippled photographer. With this set up very little dialogue is heard outside of the room. It is what Jeffries sees that tells the story, begging the question, "is what we see really what we get?" The narrative answer to that question is fulfilled at the end of the movie, but there are underlying elements that seem to ask that same question. One of these elements is the relationship between Jeffries and his girlfriend Lisa Freemont played by Grace Kelly.

Tania Modleski argues that "the sexuality of the woman, which is all along presented as threatening, is first combated by the fantasy of female dismemberment and then, finally, by a re-membering of the woman according to the little boy's fantasy that the female is no different from himself" (Modleski 76). She also says that the "male gaze" is inhibited by Lisa's gaze at some points. After watching the film it seems that Jeffries does not want Lisa to be no different from him, but wants to control his life. It also appears that we always are given Jeff's gaze and never waver from it. This essay will argue that Jeffries has been psychologically castrated and tries to keep some sort of control over his relationship with Lisa, but is ultimately forced to live under her stipulations.

We first see signs of Jeff's castration in the opening sequence of the film. After surveying the back-yard area of the apartment building, the camera enters Jeff's apartment and tracks around it. At first the frame shows Jeff's face, his eyes closed asleep in a chair. Panning down Jeff's body we notice that he has a broken leg. This would not seem to be that big of a deal, but on further viewing of the apartment we conclude that Jeff is an action photographer who needs to be on his feet. This injury has taken control away from Jeffries. Modleski begins to hint at this, saying Jeff's "impotence is suggested by the enormous cast on his leg and consequent inability to move about" (Modleski 76).

Another glaring abnormality is a broken camera lying on the desk. This camera, assumedly, was the camera he was using while he broke his leg. As we will see later, the camera is used as an extension of his body, showing further castration. Within the first two minutes of the film it is clear that L.B. Jeffries' life cannot be solely under his own control. Typical male characters in film are dominant physically and mentally, usually saving himself and others from certain danger. As we see later Jeff has no ability to save anyone from danger, not even himself. Knowing this, it is easy to see that L.B. must be feeling a certain mental castration from his physical limitations.

Adding to his physical ailments are the psychological effects of being physically dominated by two different women. Modleski writes that "woman is continually shown to be physically superior to the hero, not only in her physical movements but also in her dominance within the frame" (Modleski 77). What Modleski fails to acknowledge is the dominance that the insurance nurse Stella has over Jeffries. This relationship may be just as damaging to Jeff's psyche as Lisa's physical dominance over him. Stella acts as a mother figure for Jeff. The camera follows her around the room while she sticks a thermometer in his mouth, makes his bed, and eventually helps him take off his shirt so that she can rub oil on his back. Constantly reminding the audience that she is physically dominant is the camera staying with her. The few cuts to show Jeff motionless in his wheelchair combat Stella's constant movements. Not only do we see her physical presence surpassing Jeff's, but the conversation is controlled by Stella as well. Whenever Jeff tries to make a point about relationships, Stella is quick to interrupt and prove Jeff wrong. What does Jeff do to try to gain some control over Stella? At the end of the scene he asks her to make a sandwich for him, pointing the woman back into the kitchen, where he feels more comfortable and in control of the situation.

Now the main relationship finally interacts after all the evidence that shows Jeff's inability to have physical or mental control over any events. We meet Lisa while Jeff is asleep in the dark. An ominous shadow rises up his body that invites some suspense. A cut reveals otherwise as the beautiful Lisa is shown smiling over Jeff. Modleski writes that "Lisa is experienced as an overwhelmingly powerful presence...suggest[ing] the underlying threat posed by the desirable woman" (Modleski 76). She continues on to argue that the parallels between this couple and the Thorwald's suggest and underlying fear of marriage that is somehow validated by the latter's constant arguing. The film seems to be pointing more at Jeff's fear of losing control of his life to a woman.

Jeff's physical incompetence is exaggerated through similar camera movements that followed Stella around the room. This scene the camera follows Lisa, moving more than before. She walks to and from her purse twice with the camera tracking along with her. After some conversation she walks to the door with the frame following her as she lets a waiter in with dinner. It seems unimportant to Jeff that Lisa has brought dinner with her to feed him, but the male waiter will become another example of castration for Jeff. With both Lisa and the waiter moving around freely, the camera cuts to Jeff, but instead of the moving camera, we see a still frame centering on Jeff. Not only has Lisa continually moved around, emphasizing Jeff's immobility, but she has brought in another man to compound his humiliation. To top off his physical limitations, Jeff cannot open a bottle of wine, only to be opened by the waiter with ease. This scene adds to the previous to give powerful evidence of Jeff's low physical abilities and a continual mental castration.

There are four more scenes that further Jeff's constant battle of being totally dominated physically and mentally. First is the argument scene between Lisa and Jeff. We see a shot-reverse-shot of a conversation between Jeff and Lisa after he tells her that he does not think they are compatible with each other. He is constantly trying to explain how she would not be able to physically keep up with his lifestyle, but the framing continues to add evidence to the contrary. His cast, the symbol of his physical limitations is always shown. Along with the previous scenes that show opposing viewpoints from Jeff's, the cast shows that his words are a way for him to regain mental dominance over Lisa. This, of course, does not work since she will continually return to his apartment as the film moves on.

The next instance occurs when Lisa enters the Thorwald's apartment. Jeff cannot move out of his wheelchair to help his girlfriend and can only watch. Jeff even says, "Stella...what do I do?" He watches with a long focal length camera lens which only gives graphic imagery of his limitations. Jeff cannot perform physically so he must use tools to enhance his abilities. The Freudian subtext of choosing a long length focal lens is obvious. Even more of Jeff's inability is shown during his confrontation with Mr. Thorwald. When he figures out that Thorwald is coming up to his room, Jeff tries to hide, finally moving on his own in the wheelchair, only to realize that he cannot move out of the wheelchair to hide anywhere. Instead, he must fight Thorwald the only way that he can...by using his flashbulbs. Modleski writes about this confrontation by saying "Jeff's 'distancing' techniques, of course, no longer work, and the flashing bulbs only manage to slow Thorwald down a bit" (Modleski 83). Even though Jeff tries everything he is capable of, he cannot save himself from physical harm. Thorwald ends up throwing Jeff out of the window, ending the film with Jeff in two casts, rather than one. This image to finish the film only contributes to the idea of Jeffries' physical limitations, and Lisa's actions to finish the film show that she is only changing to make Jeff happy. Her switching of magazines shows that she is still in control of her life, even if Jeff would like to think otherwise.

Rear Window is a narrative masterpiece, centralizing the action inside of an apartment room. This technique forces the audience to interpret the proceedings outside of the room in the same manner as the inhabitants do. While keeping suspense by forcing the viewer to ask questions about what is going on, the movie subtly asks questions about Jeffries masculinity and ability to control his surroundings. Tania Modleski argues that the "male gaze" is challenged in this movie by Lisa's character. Although Modleski has made some good arguments, it seems that it is always Jeff's viewpoint that we remain with, even if his "gaze" is not the normal male dominated one because of his physical inabilities and mental castration.