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I don't find it strange at all that there's no darkroom work in REAR
WINDOW, and frankly, if there *were* any the film would be preposterous
and senseless, which it isn't.  "Jeff" Jeffries lives in a studio
apartment, which is to say, an apartment for one, in one room.  His
kitchen is an area behind a partial wall.  There is a washroom into which
Grace Kelly disappears to transmogrify herself into something so
beautiful I don't want to waste words on it.  But that's all, folks, as
Porky Pig said.  Ain't no room for no darkroom here.
 
But if there were:  how would you expect "Jeff," in full cast regalia, to
wheel himself around and print in those basins normally high enough to be
agitated from a standing position?  Not likely.  And photographers like
"Jeff" Jeffries didn't do their own printing.  He was a commercial
freelancer, and what he would have done would have been to hand his film
into Gustavson, or whoever that editor is that he speaks to early in the
film who doesn't want to send him off to Asia, and the magazine would
have it printed.
 
He's a cameraman, not a printer.
 
Murray
 
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