Rear Window (1954)
The frisson of voyeurism occupies all of the spare spaces in this classic. James Stewart becomes a voyeur out of boredom (stuck in his room because of a broken leg), but soon he has become drawn into it – as he then draws in his girlfriend and nurse – as he draws us in, and as Hitchcock draws us in as voyeurs of the unfolding drama (an obvious though not laboured point). The climax is perhaps not as surprising as it once was, but here it’s the journey, not the destination, that is what we have come for. The best Hitchcock movie I have watched so far.