oliverwjganley

Windows is perhaps the most unfairly rated film on IMDB. Here is just a sample of films which share it's undesirable score of 4.8: Howard the Duck Legally Blonde 2 After Earth For a film to earn a 4.8 it must've committed an unforgivable sin towards the viewer, be that through it's failure to successfully fulfil the expectations of its genre or style, or (as is most common among films with ratings this low) it's insulting of the audience to an almost maddening level.

I'd struggle to believe the words of anyone who told me they sincerely felt that Windows committed any such sins. Despite it's plot, the film does not attempt to emulate the pacing or content of adrenaline-soaked thrillers such as Play Misty for Me. It is deliberately slow and methodical, and carries the viewer through it's engaging characters and atmospheric cinematography as opposed to techniques more typical of the thriller genre such as sensational set pieces. Perhaps this is why the film has failed to connect with an audience, it's drawn-out scenes and reluctance to 'manufacture' tension through techniques such as editing and music is more akin to films such as The Conversation, and is the reason for many reviewers calling the film 'boring' and 'undramatic', and likely why it is perceived as a failed thriller.

To me, this is decidedly not the case. Windows was a thrilling experience for me due to it's realism. It's long-winded and mundane tone (even during dramatic moments) felt indicative of real-life, thereby making the events of the film very believable and effective. Andrea's (Elizabeth Ashley) descent into madness as her obsession with neighbour Emily (Talia Shire) becomes increasingly unhealthy is given time to occur gradually and naturally and is not punctuated by the filmmakers in any way beyond Ashley's performance, itself an exercise in restraint, thereby making Andrea's activities more shocking as the viewer is surprised to a larger extent by her actions than they would be if Ashley had played the role as an all-singing, all-dancing psychopath.

The same restrained manner and tone is evident throughout the work of the rest of the film's cast, all of whom reinforce the film's unobtrusive mood. Talia Shire's performance as Emily is effective as her performance is both fearful enough to present her character as vulnerable to the threat of the film's villains, while also not being too timid so as to alienate the audience from rooting for her. Joe Cortese is also effective in his performance as Lt. Bob Luffrono. The detective who becomes friendly with Emily while investigating her case. He is calm and collected but also aloof and anonymous. He feels like a real person. Yet his quick-witted nature and initiative gives the audience confidence that he can successfully perform his duty of protecting Emily and unravelling the crime committed against her in the film's opening.

Two members of the film's crew are also deserving of praise. The obvious being Gordon Willis, the director and cinematographer. It is a crying shame that he was deterred from directing another film following Windows' negative critical reception, as his sense of style even beyond the film's incredible cinematography deserves to be celebrated alongside all of the famous auteurs of Hollywood's Second Golden Age (though Willis may've lacked opportunities to exercise this style as the movement was on the wane by the time Windows was released). The film's consistency in tone and style evidences the clarity of vision (and confidence in said vision) that he had as a filmmaker. Finally, Ennio Morricone also delivers an effective score for the film which, far from adding suspense, predominantly reinforces the film's low-key atmosphere through it's somber and mournful tone.

In summary, you need to view Windows in the right frame of mind. Anyone expecting Hitchcockian thrills will doubtlessly be disappointed. Instead, it should be seen as a slow-burn character piece.