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 ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]