Bovie Movie

With the Jerry Zucker-Jim Abrahams-David Zucker team absent, this sequel to the cash-cow 1980 spoof Airplane once again finds garrulous man-with-a-past Ted Striker (Robert Hays) compelled to take over the controls of crippled aircraft, all the while trying to patch up his relationship with stewardess Elaine (Julie Hagerty). This time, the first passenger space shuttle is launched into orbit — and takes off for the moon - but the on-board computer malfunctions and sends the craft hurtling toward the sun, threatening the lives of everyone on board. Lloyd Bridges and Peter Graves return from the first Airplane, while William Shatner, Chad Everett, Sonny Bono, Raymond Burr and Chuck Conners join the cast, as they too lampoon their established images.

Laid up with a broken leg, photojournalist L.B. Jeffries (James Stewart) is confined to his tiny, sweltering courtyard apartment. To pass the time between visits from his nurse (Thelma Ritter) and his fashion model girlfriend Lisa (Grace Kelly), the binocular-wielding Jeffries stares through the rear window of his apartment at the goings-on in the other apartments around his courtyard. As he watches his neighbors, he assigns them such roles and character names as “Miss Torso” (Georgine Darcy), a professional dancer with a healthy social life or “Miss Lonelyhearts” (Judith Evelyn), a middle-aged woman who entertains nonexistent gentlemen callers. Of particular interest is seemingly mild-mannered travelling salesman Lars Thorwald (Raymond Burr), who is saddled with a nagging, invalid wife. One afternoon, Thorwald pulls down his window shade, and his wife’s incessant bray comes to a sudden halt. Out of boredom, Jeffries casually concocts a scenario in which Thorwald has murdered his wife and disposed of the body in gruesome fashion. Trouble is, Jeffries’ musings just might happen to be the truth. One of Alfred Hitchcock’s very best efforts, Rear Window is a crackling suspense film that also ranks with Michael Powell’s Peeping Tom (1960) as one of the movies’ most trenchant dissections of voyeurism. As in most Hitchcock films, the protagonist is a seemingly ordinary man who gets himself in trouble for his secret desires.