Two of the most obvious additions are “That’s Amore” and then “Mona Lisa” which can be heard being sung by a group of party guests. We’re also inundated with all types of songs popular and otherwise which can be picked out of the story organically if you’re paying particular attention. For instance, against the credits, as the blinds come up, we’re met with the playfully cool jazzy beats of “Prelude and Radio” which proves to be in perfect juxtaposition with the deathly hot heatwave hitting Greenwich Village in the film’s opening moments. In fact, it is quite easy to consider it as a film with a wholly diegetic soundtrack but, in reality, it’s really an intricate weaving of sound orchestration playing against the images onscreen. There are such a vast number of planes to appreciate Rear Window on and one of those is its impeccable use of sound as well as a score courtesy of Franz Waxman.
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