One of Christopher Reeve’s Final Roles Was in a Remake of a Hitchcock Classic

Though we know him best as the most iconic Superman to hit the big screen, Christopher Reeve had quite an interesting career that spanned beyond the four superhero films he’s most known for. Having starred in movies and plays, Reeve tackled everything from romances and historical dramas to Westerns and science-fiction horror. But his final film role is likely not at all what you’re expecting. Having done remakes in the past, Reeve rounded out his career by attempting to recapture the magic of Alfred Hitchcock‘s mystery thriller, Rear Window, this time as a made-for-television production which he both produced and starred in that hit TV screens in November 1998. And somehow, a made-for-TV Hitchcock remake is not terrible. In fact, it was nominated for an Emmy.

Christopher Reeve Was Paralyzed in a Horse Riding Accident

Some context to Reeve’s life is key to really appreciating the Superman actor’s role. In the years following his appearance in the 1985 Anna Karenina remake (another made-for-TV film), Reeve became an avid equestrian. Having competed in various horse riding events, the actor had enrolled in an event in Culpeper, Virginia on May 27, 1995, that would end up being his last. After completing two of the three trial events in the competition, Reeve was suddenly thrown from his horse. Despite wearing a protective vest and a helmet, the incident resulted in Reeve’s paralysis from the neck down, and he was unable to breathe without the help of a respirator.

In addition to an intense physical therapy regiment, Reeve continued to work in Hollywood, though largely in a behind-the-scenes capacity. In 1996, he narrated Without Pity: A Film About Abilities for HBO, a documentary about those with disabilities and how they live full lives despite the challenges they face. The following year, he directed the HBO drama feature, In the Gloaming, and in 2004, he helmed A&E’s The Brooke Ellison Story. His final picture as a director was the animated sports comedy feature, Everyone’s Hero, which hit theaters posthumously in 2006 — the same year new scenes of Reeve as Superman appeared in the re-edited Superman II: The Richard Donner Cut.

In addition to heading up The Christopher & Dana Reeve Foundation (which lives on in efforts to find a cure for paralysis), Reeve continued to push himself as an actor well until his death in 2004. In 1996, he appeared in the drama, A Step Toward Tomorrow, his first on-screen role post-accident, and his final on-screen role would be as Dr. Vigil Swann in the Superman prequel series Smallville, in which he appeared in two episodes. But between these performances, Reeve remade one of the greatest thrillers of all time: Rear Window.

Christopher Reeve Didn’t Plan on Remaking the Hitchcock Thriller

It’s easy to think that Reeve was simply attempting to remake Hitchcock with his own unique flare, but that wasn’t the intention of the 1998 Rear Window at all. In a 1998 letter to the Washington Post, Reeve remarked that, though they named the film Rear Window, “it was not our intention to remake the Hitchcock film.” Instead, Reeve and his crew, which included director Jeff Bleckner, wanted to say something else with their film. “I was not trying to imitate Jimmy Stewart, nor was Daryl Hannah trying to be Grace Kelly,” Reeve explained. “And we felt that getting to know the lead character as he goes through rehab would be informative to the audience.” For Reeve, reframing the entire narrative around his character’s accident (as the production itself was framed around his) was part of what they were going for. The hope seemed to be wanting to spread awareness of conditions such as Reeve’s paralysis, and on those merits, the film certainly succeeds.

Of course, Rear Window follows the same basic plot as the original film — and the Cornell Woolrich short story, “It Had to Be Murder,” on which both were based — which may have contributed to some of the initial negative press surrounding it. But instead of playing the Jimmy Stewart character Jeff Jefferies, Christopher Reeve makes the role his own by renaming him Jason Kemp. Not only that, but we’re introduced to Jason not before, but after his accident. By re-framing our introduction to Jason, the film helps us get to know the character through his recovery. Of course, though Reeve’s condition is a major part of the Rear Window remake, it’s not all this movie has going for it. The clever use of modern technologies helped update this tale with an almost 21st century aesthetic despite being produced in the late 1990s.

As Jason Kemp — a metropolitan architect — deals with his post-accident existence, he begins spying on those living in the neighboring building. After witnessing a textbook case of domestic abuse, Jason calls the authorities, but that seemingly only makes things worse. Soon after, the woman is gone, and Jason believes wholeheartedly that she was murdered, only to be replaced soon after. As Rear Window continues, Jason and his partner Claudia (Daryl Hannah) partake in a dangerous game of suspicion and intrigue that nearly gets them killed. Whether you’ve seen the original Rear Window or not, we won’t spoil the ending for you here…

Christopher Reeve’s Performance Elevates the ‘Rear Window’ Remake

It’s hard to compare any remake to the original, especially when it comes to the works of Alfred Hitchcock. The ’90s Psycho remake is famously terrible, and others have tried and failed to recapture the movie magic the auteur filmmaker once displayed on the screen. In the case of Rear Window, there’s no doubt that the Jimmy Stewart/Grace Kelly classic is, well, a classic for a reason, but Christopher Reeve’s unique take isn’t too bad either. Though perhaps not as riveting or daring as Hitchcock’s film, the 1998 Rear Window is uniquely its own, and feels more autobiographical to Reeve’s lived experience (sans the murder mystery) than anything else.

Despite his physical limitations, Christopher Reeve is as strong a leading man here as ever. He’s confident, self-assured, and bold in his portrayal of Jason Kemp, a man on the verge of obsession as he fights to give his life new meaning in the wake of tragedy. In addition to Reeve, Robert Forster gives a solid-as-ever performance as Detective Moore, and Ruben Santiago-Hudson is perhaps the most charismatic of the bunch as Jason’s aide, Antonio. Likewise, Ritchie Coster, known for his antagonistic roles as displayed in The Dark Knight and True Detective, is perfectly cast here as the villain Julian Thorpe. But it’s Reeve who, in more ways than one, is the real star of this show. His understated performance is tailor-made for this exact role, and the way he’s able to pull deeply from his own well of experience only enhances the experience. Plus, his chemistry with Darly Hannah is exquisite.

Admittedly, Rear Window isn’t a perfect remake. It’s a bit slow on occasion and maybe not dramatic enough for the material. It has a sappy sort of ending too (Disturbia did it better) but overall, Reeve saves the day. Though he played the same part in the film that Jimmy Stewart did in the original, Reeve really makes the role entirely his own. His determined attitude and obsessive behavior come across differently than Stewart’s generally erratic interpretation, and the actor’s firm grip on the production is clearly felt. As far as final film performances go, Christopher Reeve gives his all for Rear Window, which feels almost like a culmination of his life and career. He gets to be the hero once again while also acknowledging his real-life circumstances, but the whole thing is wrapped up in a hopeful finish. A few years later, Reeve would pass the Superman baton to Tom Welling while appearing on Smallville, but Rear Window proves that Reeve never had to wear a cape or leap over tall buildings to be a hero.

Rear Window (1998) is available to watch on Prime Video in the U.S.

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