The Bedroom Window is directed by Curtis Hanson who also adapts the screenplay from the novel The Witnesses written by Anne Holden. It stars Steve Guttenberg, Elizabeth McGovern, Isabelle Huppert, Brad Greenquist and Paul Shenar. Music is by Patrick Gleeson and Michael Shrieve and cinematography by Gilbert Taylor.
Terry Lambert (Guttenberg) is having an affair with his boss' wife Sylvia Wentworth (Huppert). Together one night at Terry's apartment, Sylvia witnesses from the bedroom window an attack on Denise (McGovern) and scares off the assailant. Not wishing to expose her affair with Terry, she refuses to report what she saw, instead allowing Terry to come forward to help the police finger the man who Sylvia saw by pretending it was he who witnessed the crime. But when Terry's evidence comes under scrutiny he finds himself the focus of the police search for the rapist and murderer at large...
With shades of Hitchcock and De Palma, The Bedroom Window is an effective neo-noir like thriller. Guttenberg's protagonist begins to pay severely for his illicit dalliances as he lands in a world quickly spinning out of his control. Duped and a victim of circumstance, this law abiding citizen just wants to do the right thing. This sets up a narrative that isn't shy to toy with audience expectations, keeping suspense high as the wronged man - aided by a spunky femme - sets about proving his innocence and ensuring the guilty man, Henderson (Grenquist) (who we know about from the off) is brought to justice. A couple of twists keep things perky, where even though some contrived events ask a lot of the audience, film never drifts into the mundane.
Hanson would strike a considerable chord with the neo-noir faithful when he brought L.A. Confidential to the screen in 1997. Here, much like with Bad Influence (1990), the director hones his skills as a visualist. The Baltimore locations are often shaded as being places of possible peril, while Gilbert Taylor's photography neatly blends golden promise in daytime shots with shadowy menace at night. Acting performances are hit and miss. Guttenberg surprisingly is effective in a serious role, mainly because it fits the character to have an easy going guy spun into disarray. Huppert struggles as the femme fatale by giving a one dimensional turn, but McGovern lights up the screen with poise and purpose and saves the film from taking a trip up average street in the final third. As for Greenquist? Visually scary and Hanson wisely keeps him as a silent assassin type.
Those contrivances, a dated feel and the valid charges of it being copyist have kept it from essential viewing status. But there is still a strong thriller in the mix and for anyone interested in Hanson's work this is a good addition to your required viewing list. 7/10
Terry Lambert (Guttenberg) is having an affair with his boss' wife Sylvia Wentworth (Huppert). Together one night at Terry's apartment, Sylvia witnesses from the bedroom window an attack on Denise (McGovern) and scares off the assailant. Not wishing to expose her affair with Terry, she refuses to report what she saw, instead allowing Terry to come forward to help the police finger the man who Sylvia saw by pretending it was he who witnessed the crime. But when Terry's evidence comes under scrutiny he finds himself the focus of the police search for the rapist and murderer at large...
With shades of Hitchcock and De Palma, The Bedroom Window is an effective neo-noir like thriller. Guttenberg's protagonist begins to pay severely for his illicit dalliances as he lands in a world quickly spinning out of his control. Duped and a victim of circumstance, this law abiding citizen just wants to do the right thing. This sets up a narrative that isn't shy to toy with audience expectations, keeping suspense high as the wronged man - aided by a spunky femme - sets about proving his innocence and ensuring the guilty man, Henderson (Grenquist) (who we know about from the off) is brought to justice. A couple of twists keep things perky, where even though some contrived events ask a lot of the audience, film never drifts into the mundane.
Hanson would strike a considerable chord with the neo-noir faithful when he brought L.A. Confidential to the screen in 1997. Here, much like with Bad Influence (1990), the director hones his skills as a visualist. The Baltimore locations are often shaded as being places of possible peril, while Gilbert Taylor's photography neatly blends golden promise in daytime shots with shadowy menace at night. Acting performances are hit and miss. Guttenberg surprisingly is effective in a serious role, mainly because it fits the character to have an easy going guy spun into disarray. Huppert struggles as the femme fatale by giving a one dimensional turn, but McGovern lights up the screen with poise and purpose and saves the film from taking a trip up average street in the final third. As for Greenquist? Visually scary and Hanson wisely keeps him as a silent assassin type.
Those contrivances, a dated feel and the valid charges of it being copyist have kept it from essential viewing status. But there is still a strong thriller in the mix and for anyone interested in Hanson's work this is a good addition to your required viewing list. 7/10