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The Opening Black-and-White Evening Gown: Features a fitted black off-the-shoulder / V-neck bodice paired with a full, voluminous white chiffon or tulle circle skirt accented with delicate black floral beading/embroidery. Designed to make Lisa look like "untouchable Dresden china."

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The Black New Look Cocktail Dress: A classic, sleek, midi-length little black dress with a sweetheart neckline and drop-shoulder design. Captures 1950s urban evening sophistication and understated glamour.

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The Pistachio/Celadon Green Tailored Suit: A pastel green midi-length skirt suit worn with a white halter-neck blouse, matching belt, white gloves, and a pillbox hat.

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The Gold-Embroidered White Day Dress: A sleeveless, ankle-length white dress patterned with delicate gold floral embroidery and a cinched waist.

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The Gold-Embroidered White Day Dress: A sleeveless, ankle-length white dress patterned with delicate gold floral embroidery and a cinched waist.

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The Pistachio/Celadon Green Tailored Suit: A pastel green midi-length skirt suit worn with a white halter-neck blouse, matching belt, white gloves, and a pillbox hat.

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rob @robinprague.bsky.social · 5h

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His best film?

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This level of danger and suspense is so far elevated that Rear Window, intended as a show in 1954, is now revealed as art. Rear Window lovingly invests in suspense all through the film, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay.

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The suspense scenes in Rear Window are Hitchcock at his most diabolic, creating dangerous situations and then letting Lisa and Stella linger in them through Jeff’s inaction. They venture out into danger, Kelly even entering the apartment of the suspected wife killer.

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Significantly, at the end of Rear Window, when he is in danger in his own apartment, his weapon is his camera’s flashgun; he hopes to blind or dazzle his enemy, and as the man’s eyesight gradually returns, it is through a blood-red dissolve that suggests passion expressed through the eyes.

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Rear Window boldly presented its methods in plain view. Jeff sits in his wheelchair, holding a camera with a telephoto lens, like a movie camera would. What he sees, we see. What conclusions he draws, we draw, all without words, because the pictures add up to a montage of suspicion.

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Thorvald (Raymond Burr), a man with a wife who spends her days in bed in Rear Window. One day the wife is no longer to be seen, and by piecing together a saw, a suitcase, a newly dug spot in Thorvald’s courtyard garden, Jeff begins to suspect that a murder has taken place.

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In Rear Window Jeff’s apartment window shares a courtyard with other windows. There is Miss Lonelyhearts, who throws dinner parties for imaginary gentleman callers; and Miss Torso, who throws parties for several guys at a time; and a composer who fears his career is going nowhere.

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One regular is his visiting nurse Stella (Thelma Ritter), who predicts trouble. The other is his fiancée, Lisa Fremont (Grace Kelly), an elegant model and dress designer, who despairs of ever getting him to commit to marry her in Rear Window.

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The man is a famous photographer in Rear Window. He’s played by James Stewart as a man of action who has been laid up with a broken leg and a heavy cast that runs all the way up to his hip. He never leaves his apartment and has only two regular visitors.

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The hero of Alfred Hitchcock’s Rear Window (1954) is trapped in a wheelchair, and we’re trapped inside his point of view. He shamelessly maintains a secret watch on his neighbors. A man who does on the screen what we do in the audience, look through a lens at the private lives of strangers.

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Today's movie (Tuesday 10-13-26) is Alfred Hitchcock’s Rear Window (1954)

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Kate LaDew @kateladew.com · 9h

Today's movie (Tuesday 10-13-26) is Alfred Hitchcock’s Rear Window (1954)

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It sounds odd to say about such a heavy movie, but I loved it. Just perfectly executed. It reminds me of 'Zodiac'. Every detail is correct.

Lary Crews © @larycrews.bsky.social · 22h

Thanks for sharing that cool memory with us.

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jmgee.bsky.social @jmgee.bsky.social · 12/10/2026

I worked with the real Mike Rezendes at the old Boston Phoenix in the '80s. Ruffalo's portrayal is such a dead on accurate one, right down to his walk, that it verged on the uncanny for me. Later, Mike told me of the intense study Ruffalo did of him.

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Clifford Simak @clifford6111.bsky.social · 12/10/2026

A wonderful depiction of the moral roles at each level at the WaPo; Liev Schreiber had a different responsibility in righting this wrong than Mark Ruffalo did.

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Clifford Simak @clifford6111.bsky.social · 12/10/2026

Before he fled the country to avoid legal fallout from his actions.

JoJo Mineo @jojomineo69.bsky.social · 12/10/2026

#MARKRUFFALO was nominated for the Best Supporting Actor OSCAR for #SPOTLIGHT and gave the BEST performance in the BEST PICTURE winner but lost out to a British actor that I never heard of before that year, and never heard of again.

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Lazyeye @lazeeye.bsky.social · 12/10/2026

What a great film. Interesting factoid: the director, Tom McCarthy, played the crooked Baltimore Sun reporter in the last season of THE WIRE.

But good long-form journalism still exists. Such work is as important now as it has ever been. “Spotlight” is the kind of movie where a scene showing a group of reporters huddled over church directories, taking notes in silence, becomes a gripping sequence.

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Mark Ruffalo modulates his performance over the course of the film at a world-class level, moving from a patient dogged investigator to a rumpled maniac racing through courthouses, chasing down cabs and screaming at his boss.

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The director and his entire team, from production designers to location scouts, get Boston completely right. Different neighborhoods are used as shorthand for entire worlds. Predator priests often worked in low-income neighborhoods, targeting boys who needed father figures.

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Sacha and Michael question the adult victims willing to come forward, who are so traumatized they can’t find the words to describe what was taken from them. A couple of lawyers sit on opposite ends of the spectrum of dealing with the Catholic Church from a legal standpoint.