Rear-window

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.

From our July issue: “Juggling Wolves” - Kelsey Ford on Rear Window

“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.”

(Read the entire essay for free at RogerEbert.com)

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