Multiple kisses. No nudity. No sex scenes.
A woman kisses a man she is not in love with in front of two other men.
Considering when this film was made, the producers were more careful what they could put in a movie, made in the 1950s.


We see a woman putting on her halter top, from behind. We see her bare back until then. The same woman dances around in her apartment. This is seen from a distance. As she continues to dance, she sticks out her butt a few times, inappropriately.


Brief implication that a couple has sex. Not very noticeable.
A younger man forcefully kisses an older woman before he is eventually pushed out of the apartment complex. This is seen from a distance through a window.


Film review:Translated by www.rabudo-ru.com


Laura Mulvey believes that in the classic Hollywood narrative, men are the initiative to promote the narrative and create trouble, while women are the passive ones outside the narrative. In her famous visual pleasure and narrative film, Hitchcock’s back window was put forward as an example.

But what kind of initiative does the man in the back window have? All his power seemed to be just the power of seeing. His body and actions were seriously constrained. When the salesman, the object he had been peeping at, came to his room to kill him, he couldn’t even escape. On the contrary, his girlfriend, the heroine, is a person with strong action ability. She not only shares the power of watching with the hero (she and the hero peep into the life of salesmen, and their subjective viewpoints often coincide), but also actively participates in the event, rather than being satisfied with “watching”, She digs the body in the garden with the heroine’s nurse, and sneaks into the salesman’s room to look for evidence of guilt. These actions are not the instructions of the hero. The hero has always opposed her to do so, but she obviously enjoys it.

According to Mr. Li Xun, the narrative of classic Hollywood is often two lines, one is the career line and the other is the emotional line. The two lines push each other and meet at the climax of the film. In this film, there are obviously two such lines. Career line is the detection of murder by male and female protagonists, and emotional line is the love between male and female protagonists.

The male and female protagonists love each other, and women are even more proactive, while men have been timidly avoiding, because she thinks the heroine is too noble and not the same kind of person as his life. This fear of professional women urges the heroine to become the female image he imagined in order to get the hero’s love.

At first, the heroine didn’t believe the hero’s speculation about the murder, but when she saw the salesman packing the box, she suddenly completely believed the hero. Maybe she also had doubts, but I would rather think that she suddenly enlightened. This is an opportunity to turn her into the ideal female image of the hero. Since then, the heroine took an extremely active part in the event. When she went to the salesman’s garden and room in person, she also became the object of the hero’s peep. From the hero’s point of view, she became a female image full of adventure, wit and motivation. This image is what the hero expects and appreciates. When he finds that the heroine has this image, he inevitably falls in love with the heroine.

At the end of the film, when the hero falls asleep and he can’t continue to stare. The heroine put down her detective adventure novel and picked up the fashion bazaar magazine she really wanted to read. So we understand that all her actions are just to meet the hero’s gaze and to cater to the hero’s imagination of women’s image. In fact, she is the same as Judy in vertigo. They all make themselves the image of men in order to get men’s love.

Therefore, the heroine in the back window seems to be active, but in fact she is passive, because her behavior is to cater to the prying eyes of the hero. The hero seems passive, but as long as he has the power to see, as long as he is a gazer, he can manipulate women and change their image with his gaze. Maybe the salesman didn’t kill his wife, either? But in the actor’s puzzled gaze, the salesman is undoubtedly a murderer. This is the power of gaze.

 

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