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A wheelchair-bound photographer, becomes voyeur on his neighbors and becomes convinced one of them has committed murder.
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◎译 名 后窗
: y7 X1 E5 ^) s* { }◎片 名 Rear Window / Alfred Hitchcock's Rear Window / Fenêtre sur cour
\% ]6 w/ k) d+ u◎年 代 1954
- b6 l4 G( a. k$ E3 o9 L◎产 地 美国
7 b9 i) `: O! ~, C% u◎类 别 悬疑/惊悚
& V9 p* ^# V1 M' F0 B7 Z0 N◎语 言 英语
( I6 q- {+ R3 M5 J◎上映日期 1954-08-01(美国)3 g8 [# c. z# K2 y2 L2 i
◎IMDb评分 8.4/10 from 443,810 users d5 L( V( Z7 Y+ o; |' F/ s: ?
◎IMDb链接 https://www.imdb.com/title/tt0047396/- Z+ c% G- R% S4 Z
◎豆瓣评分 8.6/10 from 135,771 users
7 s0 U1 |5 d6 ^- k" _7 Z6 C& K◎豆瓣链接 https://movie.douban.com/subject/1299080/
- B! k' z5 J; A8 |4 x2 p+ j◎文件格式 x264 + DTS$ w* k) z( V7 Z5 Z: O, @
◎视频尺寸 1920 x 1080) W% |2 T/ u& ]9 u1 ^' I! E/ o* e
◎文件大小 1DVD 40.96 GiB
% Z+ r7 x0 u e2 O `◎片 长 1:52:26.489 (h:m:s.ms)
$ Z; s3 w Z$ i t" A( Z" e◎导 演 阿尔弗雷德·希区柯克 Alfred Hitchcock. N) [2 a; z+ l! ^- s
◎编 剧 约翰·迈克尔·海耶斯 John Michael Hayes
3 t4 T. d6 D" w5 P9 d* B 康奈尔·伍尔里奇 Cornell Woolrich) ?7 h% w$ T+ v2 b8 t) F
◎主 演 詹姆斯·斯图尔特 James Stewart
% Z& @& C( x1 h: w 格蕾丝·凯利 Grace Kelly
) Y' b8 w) x- ^1 N( r, E8 D2 G9 E& h 温戴尔·柯瑞 Wendell Corey
2 o( K4 X& A) l: W" v) M 瑟尔玛·瑞特 Thelma Ritter/ h& E1 j7 w) P8 b* j
雷蒙德·布尔 Raymond Burr- k! X7 C4 H/ `. U4 f( D
朱迪思·伊夫林 Judith Evelyn
" b- _' H$ ~# r7 ? 罗斯·巴格达萨里安 Ross Bagdasarian
; F+ p6 }7 H+ @ 乔金·达西 Georgine Darcy/ a1 C# Q6 m7 y6 }( A- l
萨拉·伯纳 Sara Berner
: ` e+ n* j; O. @4 v4 N' V0 r 弗兰克·卡迪 Frank Cady
3 P/ J2 N* q* s$ ~# i 杰丝琳·法克斯 Jesslyn Fax2 W3 z$ c; h% u7 q
艾琳·温斯顿 Irene Winston- E# g. g5 E4 O5 n+ m$ }
哈维斯·达文波特 Havis Davenport
: w( @+ |" I" ?; i 本尼·巴莱特 Benny Bartlett
8 s) ^; _1 B/ M 马拉·英格丽什 Marla English) W/ A p1 q! w1 w
贝丝·弗劳尔斯 Bess Flowers. m7 Q) ]4 i5 F/ d9 j7 e! K
阿特·吉尔摩 Art Gilmore6 M, E# L! F8 d3 _& K* R
弗莱德·格兰姆 Fred Graham4 h2 I7 i. v. J, w2 ^; Q
凯丝琳·格兰特 Kathryn Grant) l- l) a# E% `, \
阿尔弗雷德·希区柯克 Alfred Hitchcock
. W; d5 Y, Q/ ^2 k3 l& c! g 迈克·马奥尼 Mike Mahoney
8 O* i4 E8 J1 l2 I 杰克·斯托尼 Jack Stoney
- |7 Q2 |" I5 {+ _- S, F0 p' B 吉格·杨 Gig Young1 w9 q0 U9 Y) m4 T8 ~; C& [) e
Rand Harper, _- P! o4 |* b) f& U4 c
Nick Borgani" t+ D/ M) m, N. O. r6 y) w
Iphigenie Castiglioni
4 O6 d9 }0 n2 X& H Don Dunning( |) x4 f/ [6 E7 L& y+ e: Z
Harry Landers
" i) O" n4 e3 E1 q+ G Jonni Paris
4 Q2 \' m) S$ o" t7 W# [ Eddie Parker+ Y: _, ^7 J3 d0 s* j' ?
罗伯特·舍曼 Robert Sherman; ]1 q# o. v: s8 v
Dick Simmons
/ y" `: s" p- m. O; M2 {3 q. o Ralph Smiley1 {8 j7 B5 h- d) a" j
Anthony Warde
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3 S- |# E0 L) M1 a◎标 签 希区柯克 | 悬疑 | 美国 | 经典 | 惊悚 | 美国电影 | 1954 | AlfredHitchcock2 Q( D8 ?* ?: l0 S; ]
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◎简 介
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摄影师杰弗里斯(詹姆斯·斯图尔特 饰)因站在赛车道中间拍摄,断了左腿,只得在家静养七周。除了保险公司的护士斯特拉(西尔玛·里特 饰)和女友丽莎·卡罗尔·弗里蒙特(格雷斯·凯利 饰)每日前来照料,百无聊赖的杰弗里斯只能在窗前闲看邻居们的日常生活以打发时间。对面公寓的二楼住着人造珠宝推销员拉尔斯·托瓦尔德(雷蒙德·伯尔 饰)及妻子安娜(艾琳·温斯顿 饰),夫妻之间争吵不断。一个雨夜,杰弗里斯看到拉尔斯提着箱子外出数次。次日,杰弗里斯又看到拉尔斯用报纸包裹一把锯和一把刀。杰弗里斯起了疑心,他怀疑拉尔斯杀害了安娜并分尸抛弃。然而,杰弗里斯并未目击案发过程,也未见到尸体。那么真相究竟如何呢?杰弗里斯的推测只是他的臆想吗?为了证实他的推测,杰弗里斯要如何寻找证据呢?
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! E9 I' F7 z6 k! d; R A wheelchair-bound photographer spies on his neighbors from his apartment window and becomes convinced one of them has committed murder.
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5 @5 X% v# _( S e& R( J4 o0 s/ {9 j2 j◎获奖情况
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第27届奥斯卡金像奖 (1955)2 |. ]# s7 F9 ]! j
最佳导演(提名) 阿尔弗雷德·希区柯克
9 Y) c& J: j" m% B$ J 最佳编剧(提名) 约翰·迈克尔·海耶斯! y: s8 Z9 {- ^. C4 C
彩色片最佳摄影(提名) 罗伯特·伯克斯9 ~2 V) i3 a% p% J& k. q
最佳录音(提名) 洛伦·L·里德4 V) |3 n8 {# h* w
I3 G8 C5 R- X4 X) I9 C/ h 第15届威尼斯电影节 (1954)( O- c; a) i7 j2 v
主竞赛单元金狮奖(提名) 阿尔弗雷德·希区柯克
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- DISC INFO:
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7 U1 D+ h, h# X5 v0 C7 x9 S- d$ u- Disc Title: Rear.Window.1954.1080p.BluRayCD.AVC.DTS-HD.MA.2.0-OLDHAM1 Y, {7 [- R" C {* l4 a x% [% O) ~
- Disc Size: 43,977,255,917 bytes
$ C2 C$ F( v8 x& O- g - Protection: AACS
/ b! L& [4 E( l g6 O( i - Extras: BD-Java9 R, ~& e- [" e& B+ a3 H& A, N
- BDInfo: 0.7.5.9 (compatible layout created by DVDFab 11.1.0.6)5 D! |6 u1 s2 [ g
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- PLAYLIST REPORT:
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# F- }6 t7 _, A: K+ r0 t6 }# N2 }- Name: 00800.MPLS
6 O$ p0 C: {' R3 g9 F - Length: 1:52:26.489 (h:m:s.ms)) L1 o. n3 i. `2 Z
- Size: 33,471,959,040 bytes7 K6 l. K7 e- @8 V
- Total Bitrate: 39.69 Mbps8 M( B3 ? d0 _3 H5 X: d1 N
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- Video:
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- Codec Bitrate Description
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- MPEG-4 AVC Video 31997 kbps 1080p / 23.976 fps / 16:9 / High Profile 4.1
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- AUDIO:
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- DTS Audio Japanese 448 kbps 2.0 / 48 kHz / 448 kbps / 24-bit
0 v% t, D' ^, q, Y - DTS-HD Master Audio English 1771 kbps 2.0 / 48 kHz / 1771 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)+ G4 P: m6 B# v
- DTS Audio French 448 kbps 2.0 / 48 kHz / 448 kbps / 24-bit2 s. k& _8 k! u
- DTS Audio Italian 448 kbps 2.0 / 48 kHz / 448 kbps / 24-bit5 d) ?* @4 y( X
- DTS Audio German 448 kbps 2.0 / 48 kHz / 448 kbps / 24-bit
9 r K: u8 @$ W, Q5 H! C/ M - DTS Audio Spanish 448 kbps 2.0 / 48 kHz / 448 kbps / 24-bit/ `' Z7 V% G3 d* B3 l
- Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps6 H# {1 U% D# X8 _% F
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) x8 r" e* |# k/ O - Presentation Graphics English 42.608 kbps
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( _" \6 L/ s, ?) D - Presentation Graphics Italian 35.068 kbps
/ ?' U+ h3 J, f" D9 G: } - Presentation Graphics German 39.424 kbps ' W, a5 a( F N! C K1 h' R
- Presentation Graphics Spanish 37.124 kbps
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i. S, {. W5 z; M6 E+ r - Presentation Graphics Danish 35.446 kbps " q7 G+ h. b1 P0 G! J1 z6 ^1 l
- Presentation Graphics Finnish 34.309 kbps
8 {0 i" ^5 B4 ? - Presentation Graphics Icelandic 35.002 kbps " c. N H8 ~$ Q0 Q q! \
- Presentation Graphics Korean 25.829 kbps 3 _+ l* h" y8 ?. }& l6 x# s
- Presentation Graphics Norwegian 31.117 kbps : }, ]* Y5 y( l/ u
- Presentation Graphics Portuguese 32.967 kbps
/ e8 |6 v; v6 \! _% Y - Presentation Graphics Swedish 29.308 kbps
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- Presentation Graphics Spanish 0.048 kbps
复制代码 Rear Window Blu-ray, Video Quality
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I can't quite shake the feeling that Rear Window's 1080p/VC-1 encoded video transfer, for all its strides and striking shots, could look better, which will no doubt leave some readers shaking their heads and dismissing this review entirely. To be honest, I've bounced back and forth between a 3.5 and a 4.0 ever since I laid eyes on Universal's new presentation, cursing my inability to somehow split the difference. But choices must be made and I choose... to round up. The source of my hesitance? Color and contrast are in a steady, arguably negligible state of flux, some of which is easily attributable to the original elements, some which appears as if it could have easily been addressed. Skintones are a bit problematic; accurate to the era on the whole but, in some cases, too pale, too orange or too muddy. Artifacts aren't common but they aren't uncommon either; watch for brief instances of suspicious grain, fleeting banding and minor crush. And digital manipulation is slightly obvious at times, particularly when the lights go down in Jeffries' apartment. That said, colors are typically satisfying and supported well, black levels are rich and inky (albeit a tad oppressive here and there), grain behaves as it should far more often than not, and clarity is excellent. Detail is the real draw to Rear Window's Masterpiece Collection resurrection, with clean edges, surprisingly revealing textures and exterior shots that showcase every brick, flower, ladder rung, window sill and distant passerby. Moreover, the encode isn't beholden to any serious aliasing or macroblocking, and the restoration itself is impressive overall. So while my gut tells me there's a better presentation of Rear Window to be had one day, my heart tells me "shut up, kid, and take in the scenery."3 r+ N" B0 B8 }9 m7 z0 s3 k
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Rear Window Blu-ray, Audio Quality
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( H7 J* J6 b) j' ], E4 v6 b8 J# ENo internal debate on this one. Universal's two-channel DTS-HD Master Audio Mono mix is fantastic, from the faint sounds of a fidgeting voyeur cloaked in darkness to the exterior comings and goings of Jeffries' neighbors to the hustle-n-bustle chorus of street noise in the distance. It's so involving that I longed to hear a carefully crafted 5.1 remix (so long as a presentation of the original mono audio was available too, of course). But no matter. Dialogue is crystal clear and lovingly grounded in the city, effects are clean and precise, and Franz Waxman's music and, more importantly, Hitchcock's score-like soundscape has been given full run of the place to engaging ends. None of it defies the tone and tenor of the film's mid-50s sound design either, making the resulting lossless audio as faithful as it is memorable. Purists will be most pleased, as will anyone and everyone who has affection for Rear Window.
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