End of addendum: Rear Window (April, 27)

Here we are, folks!

The day I was waiting for since the moment I fell from the stairs and saw my knee separating in two halves has arrived! Sure, I was expecting it would come a few weeks early. And that's the beauty of lack of expectations: I thought I had some more weeks on the wheel's chair, but the doctor quietly looked at me and asked me why I was still seated there. "Let's get up and walk". He gave me his hands, I got up and gave my clumsy first steps after almost 70 days.

I was looking like a drunk duck. Wonderful!

In a mix of amazement and fear, I got back home, and a thought came to mind: That's it, the addendum to OMAD is over. For nothing in the world I would end it in a low tone as Arctic Love though. This way, I decided to follow my friend's Audrey suggestion and watch Rear Window, a movie that I simply love.

I've seen it many times, always amazed by how written and scened it is. The set is great, in all the Hitchock's care with details while creating life - and how great it is here. Each character, in its small flat, is a part of living we recognize. The pace looks so easy here, but it is the work of a genius. We are voyeurs, Hitchock's telling us. It doesn't matter if we look through the window of an apartment or through the lens of a camera. We are Jefferies, only on the other side of the screen. 

The cast is one of my favorites. James Stewart I love always. Grace Kelly is so stunning here, and witty - her Lisa is a wonder. Thelma Ritter as Stella is such a strong presence. The trio is a perfect fit. It is hard to remember they're actors, and that what we're seeing on screen is a carefully constructed performance. Again, what seems so easy comes from hard and well planned work. It is difficult to remember we're not inside that appartment with those three amazing and mad people.

I specially love the dynamics between Lisa and Stella (Kelly and Ritter) - I told Audrey that we both would be like these two amazingly crazy ladies, running after clues to prove a murder in which, at first, neither of them believed. We're are that crazy, only we usually find ourselves running after stuff to create great parties, not clues to a murder :)

There's so much about this movie. The trivia on imdb.com is full of gossip (:) and movie essons.

I'll excuse myself here to be a bit rude. One thought that came to me during the whole film was: how Jefferies goes to the bathroom? His flat is smaller than mine, the cast on his leg goes to his waist... wait (I'll be even vulgar, sorry), where goes his junk? How he pees or... well. It really bothered me. Practical issues get more real during times of restricted movements.

I'm gratefully to Audrey for suggesting this movie to me (and for my new blue All Star!).. I hadn't see it for a long time, and it was special seeing it on this day, while ending this time without walking. I'm still trying, it is not so easy, a bit scary actually. I'm thunderously happy, though. And relieved. And amazed by how tall I am. Everytime I'm on my feet, the world seems very different. 

My gratitude goes to the opportunity of taking more time with OMAD. I'll talk more about it in a next post, to end this period with more detailed thoughts (as I've done before). However, I must say here that I just love this blog. I'm trying to establish a new dare, but I'm having a hard time detaching myself from this one. This way, I don't want to repeat the circumstances, but I'm in a way not only grateful, but happy to spending more time here. 

Thank you, dear darlings <3

Rear Window. Directed by Alfred Hitchcock. Cast: James Stewart, Grace Kelly,
Thelma Ritter. Writers: John Michael Hayes, based on the short story by Cornell
Woolrish. USA, 1954, Mono (Western Electric Recording), Color, 112 min. (Netflix).

PS: Have you seen Pride & Prejudice? There's a comment by Joe Wright on the DVD extras about a mirror scene. It is a beautiful analysis on the role of the lens of a camera and the eyes of viewers. 

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