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Movie Info
His family packed off to Maine, Professor Richard Wanley (Edward G. Robinson) is anticipating some quiet time alone. Then he meets Alice (Joan Bennett), the model for a portrait he admires, and can't resist her offer of a drink. No sooner do they get to her place, however, than her jealous boyfriend arrives in a rage. Richard kills him in self-defense, and they decide to hide the body. Things go smoothly until Richard's D.A. friend invites him to tag along on the investigation of his own crime.
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Genre: Mystery & thriller, Crime, Drama
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Original Language: English
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Director: Fritz Lang
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Producer: Nunnally Johnson
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Writer: Nunnally Johnson, J.H. Wallis
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Release Date (Theaters): wide
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Release Date (Streaming):
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Runtime:
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Distributor: Independent Releasing Organization [us], RKO Radio Pictures
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Production Co: International Pictures Inc. [us]
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Sound Mix: Mono
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Aspect Ratio: Flat (1.37:1)
Cast & Crew
Critic Reviews for The Woman in the Window
Audience Reviews for The Woman in the Window
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Lang directs this solid film noir with intelligence, building tension without hurry and relying mostly on a clever script full of nuances, an inspired dialogue and great performances, even if he disappoints with a conservative ending that feels more like a cheap cop out.
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Fritz Lang's "The Woman in the Window" is a reasonably good but second-rate film noir, starring Edward G. Robinson and Joan Bennett. It's hard to believe that the same man directed this and 1927's "Metropolis." "The Woman in the Window" isn't terrible, but it almost completely lacks ingenuity. The cinematography is uninteresting, the sets and costumes run-of-the-mill, and the story rather thin. But it does hold one's interest, and there are moments of real tension. Robinson plays a college professor who specializes in criminal psychology. He gets wrapped up in a murder with a woman (Bennett) he meets on the street late at night. It is fun to watch them try to cover it up. But the twists and turns are pretty much what you'd expect from a B picture. There's also a tremendously lame twist ending built to make the film palatable to a Disney audience. I suppose Lang was pushed by the studio to end it this way. But it's still lame of Lang to have given in. He should have pushed back harder. It seems clear that in this period Lang cared more about earning his salary than making true cinema. From world-famous artist to studio hack in 20 years. What a disappointment. Lang was an Austrian Jew who fled the Nazis and ended up in Hollywood. Another Austrian Jew who did the same was Billy Wilder. While Lang's creative period was over, Wilder's was just beginning. By coincidence, Wilder also directed a film noir in 1944: "Double Indemnity," starring Barbara Stanwyck. If you want to see first-rate film noir, skip Lang's film and watch Wilder's.
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This is a more intense version of Scarlett Street, and I can't decide which one I like better, but they have such similar plots, I get them mixed up.
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Though "The Woman in the Window" may not be a totally perfect noir, it's a work of considerable significance, and it's enthralling for most of its running length. Despite being slow moving and, at times, contrived, "The Woman in the Window" features some impressive camerawork and a constantly foreboding atmosphere, both of which are the result of Fritz Lang's skilled direction. As well, there are some legitimate thrills to be found, even though some of them are dampened by flat dialogue and incredulous plot points. The ending will no doubt frustrate its viewers, but, if anything, it's an effective, if cheap, way to end an otherwise well-handled noir thriller.
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