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He could see the sky through the window, therefore the children who make a pile of bricks to peep inside appear to be peeping from the sky. He is known for creating magic with his words.
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But Vinod Kumar Shukla sees it in his own unique ways in his novel ‘दीवार में एक खिड़की रहती थी’. Window is always in a wall, nothing unusual about it. It becomes greatly embarrassing for the lady and she pleads with him to stop whistling, Shaam dhale khidki tale tum seeti bajana chhod do. But if the hero is at the street level and the lady at a window, all is not lost the hero whistles spontaneously. If another window across the street is at the same level, and is occupied by a pretty lady, even the dunce Bhola would be smitten by her, and would go all out with the help of Guru and other jewels of their Naatak Mandali to wean her away from Master Pillai. Hindi films use window in romantic settings. But the man is too clever for her and with great difficulty she finally comes out of her nightmarish experience, with the killer meeting retribution in the last scene. Being a conscientious lady, she reports the matter to the police. In Witness to Murder (1954), the lady has no voyeuristic instincts she just happens to look out of her bedroom window and sees a woman being strangulated by a man in a flat. As it is a Hitchcock film, you are sure his smile will soon disappear as he sees some very unusual happenings in a flat. There is a constant smile on his lips as he watches myriad characters: a pretty dancer, a pianist, a lonely woman, a middle-aged couple and so on.
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In Rear Window (1954), James Stewart, confined to a wheelchair in plaster-cast due to a broken leg, indulges himself looking out onto a courtyard and other apartments from his rear window. Since one can see on the sly, this is the best place for voyeurs. Because of this asymmetry, window creates many interesting possibilities. If a person from outside tries to look into a window, his view is very restricted. Window opens the outside world to those inside.