This can be seen at the time when the protagonist in Rear Window, L.B. "Jeff" Jeffries (James Stewart), speaks over the phone with a detective friend and watches the antagonist, Lars Thorwald (Raymond Burr). Rear Window had a strong effect on film communities at the time when it appeared, considering that it presented them with matters that were virtually amazing. The fact that the film was produced at a moment when Hitchcock was experiencing his apogee most likely contributed to its overall character. One of the surprising facts regarding the film is that it puts across a feeling of warmth uncharacteristic to Hitchcock. This is because of the motion picture's screenwriter, John Michael Hayes, who managed to introduce a series of elements meant to compensate for the depressing feelings that Hitchcock apparently wanted the film to put across. Hitchcock generally wanted audiences to focus more on the emotions that his characters felt than on the characters themselves (Fawell 3).

Hitchcock worked closely with several actors that he considered to be very important for the overall feelings that his films put across. Grace Kelly, the actor playing Lisa Fremont, was one of them, and, similar to Hayes, she contributed to bringing elements that the motion picture generally lacked with the purpose of presenting viewers with diversity (Fawell 3). The actor brings glamour into the film, but does not detach herself from the...

Although she manages to have viewers understand that she is not as predictable as Jeff thinks she is, she holds on to stereotypes related to women in the 1950s. The director enjoyed having his motion pictures present a men-woman relationship that was more or less controversial (Fawell 6). Jeff is constantly inclined to believe that Lisa is inferior to him and feels that it is his job to protect her. Lisa is apparently aware of this, but does not want to disappoint Jeff and plays his game as if she were actually inferior to him. Whereas Hitchcock matured from a cinematographic point-of-view, his feelings toward women were apparently not fully developed at the time. Some of his later films present female characters that are very different from Lisa Fremont, as it is very probable that his thinking started to put across his characteristic misogynistic attitude by the 1960s.
Works cited:

Fawell, John, Hitchcock's Rear Window: The Well-Made Film (Carbondale, IL: Southern Illinois University Press, 2001)

Fawell, John, "Fashion Dreams: Hitchcock, Women, and Lisa Fremont," Literature/Film Quarterly28.4 (2000)

Mcelhaney, Joe, "Chapter 4 The Object and the Face," Hitchcock: Past and Future, ed. Richard Allen and Sam Ishii-Gonzales (London: Routledge, 2004)

Dir. Alfred Hitchcock, Rear Window. Paramount Pictures