Film Fact: Rear Window is the only film in which Grace Kelly is seen with a cigarette. She refused to smoke in films, except this one where she is seen at the very most holding a lit cigarette though she is never shown actually smoking it due to clever editing.
A fellow Grace Kelly fan, theawesomeprincess, has recently called my attention to a fact no Disney/classic Hollywood aficionado can fail to see: Cinderella looks strikingly similar to the Princess of Monaco.
I used to wonder whether Cinderella was actually modelled after Grace. But the dates don’t add up: Grace Kelly would only get a big break in Hollywood in late 1952, and Cinderella was produced in 1949. The truth is, Cinderella was actually modelled after a professional live action model Helene Stanley. And yet…
In this manip, Cinderella is wearing a famous black and white dress designed by Edith Head for ‘Rear Window’ - just like Grace.
By the by, the fact that Edith was not nominated by the Academy for this film’s costume design is beyond me.
“It’s nighttime in New York. Humid air gives way to rain. A couple, sleeping on the fire escape, is forced to drag their mattress back inside. A man in a wet parka leaves his apartment with a suitcase. An intoxicated songwriter swipes at the paper music laid out on his piano. The man with the suitcase returns, and then leaves again. A woman, dressed up and returning from a long night, shoves the door in her date’s face. The man with the suitcase returns.
Some floors up, L.B. Jeffries (James Stewart) is watching. He’s confined to his wheelchair with a broken leg, and the restlessness of being a sidelined photographer has gotten the best of him. During the day, he has a nurse, Stella (Thelma Ritter), and a fiancée, Lisa (Grace Kelly), to keep him company. But now it’s nighttime. He’s alone and he can’t sleep.
The courtyard his apartment window looks out on is a standard one, with a range of buildings: some tall and narrow and brick, others short and squat with more windows than square footage. Ladders on fire escapes lead to small gardens below. Each window offers miniature dramas: the heartbreak, the happiness, the loneliness, the mess. Jeffries’ vantage is perfect: from above, he can see without being seen.
When others should be dreaming, Jeffries is watching those who aren’t.”