The Woman in the Window

The lead character, Richard Wanley (Edward G. Robinson), is a middle-age absent-minded professor who teaches a course in crime. For relaxation he meets with two other middle-age men for drinks and academic conversation. Surrounded by books and dim light, the three men talk about how stodgy their lives are, how averse they are to adventure, and how alluring the woman is whose portrait they see in a nearby shop's window.

Says Richard to his two friends: "you know, even if the spirit of adventure should rise up before me and beckon, even in the form of that alluring young woman in the window next door, I'm afraid all I'd do is clutch my coat a little tighter, mutter something idiotic, and run like the devil."

This story setup, with quiet, reflective, sedentary characters, gives the film's surprise ending credibility. With a different setup, with different characters, the film's ending, as is, would be an act of creative malfeasance. But here, it works.

And Richard's excellent adventure is spellbinding. Tension is maximized because we, as viewers, are put directly in the point of view of Richard and his predicament. What would we do in such a situation? How would we react?

I wouldn't have cast Edward G. Robinson in the lead role. But he certainly does a nice job. So does Joan Bennett, as the woman in the window. The film's plot is tight, except in the second half, in a couple of sequences involving a blackmailer.

"The Woman In The Window" is a clever, well-written, character driven story about a man whose infatuation with a beautiful woman's portrait drives him into a dangerous adventure. Once the viewer has seen the ending, the power of the plot vanishes. But even then, that ending is still thought-provoking.

Edward G. and Joan Bennett star in a noirish crime drama that feels almost surreal (with god reason, as the ending makes plain). Robinson is a staid professor whose family is off on a weekend jaunt. He meets an alluring woman who invites him to he apartment for "drinks and." When her psycho boyfriend unexpectedly shows up, the prof ends up killing him during a scuffle. To protect himself and the gal, he gets rid of the body. Then the fun really starts. Edward G. is at the top of his form here, and Bennett is sexy and ever so slightly tawdry, even fully clothed. The ending, which has been used or misused in many movies before and since, here works beautifully. I am surprised I had never seen this particular melodrama until now. I am no spring chicken, and used to be a film critic, to boot.

This wonderfully entertaining "film noir" by master director Fritz Lang is a curiosity, defying all of our expectations as a viewer and basically subverting the "noir" genre barely before it had gotten started. The dark shadows, the femme fatale, the harboiled detectives, the murder... all the elements are in place for a typical outing, but when all is said and done, look back at the motivations, the events, even the "femme", and what we have is not a world of evil (the typical "noir" stance) but a world of innocence darkened by a few petty thugs. Like the more obviously subversive (and equally wonderful) "Kiss Me Deadly" fifteen years later, "The Woman in the Window" seems to say that evil only lives when people look hard enough for it - practically a "film noir" rebuttal. As in "M" and "Fury," Lang (a refugee from the Nazi regime) once again examines issues of social evil in ways more complex than any of his contemporaries. Enjoy "The Woman in the Window." The cast is impeccable, the writing a delight, the direction peerless, the music score years ahead of its time. A small feast.

The catastrophe just around the corner is the premise for Fritz Lang's first unabashed film noir. Settling stuffily into middle age, Edward G. Robinson lectures on criminal psychology at Gotham University (est. 1828). One morning he packs his wife and kids onto the train for a summer in Maine, then repairs to his club for dinner, a brandy or two, and a comfortable snooze in a wing-chair.

A portrait in a gallery next door had caught his attention, however, so before heading home he gives it a second glance. Suddenly its beautiful subject (Joan Bennett) looms up behind him, reflected in the glass. They flirt rather formally, stop for a drink, then head back to her apartment under the pretext of viewing more of the artist's work she'd posed for. Suddenly a man Bennett has seeing on the sly with barges in and, enraged, tries to throttle Robinson, who stabs him with scissors. And suddenly Robinson's complacent life lies in shards.

He decides, for the sake of his and Bennett's reputations, to dump the body along a stretch of rural road upstate, then part ways forever with this woman from the window. But, far from a nobody, the murdered man turns out to be a wealthy developer, whose death claims headlines. And his bodyguard (Dan Duryea) pays a visit to Bennett, to blackmail her.

A shrewd and cultivated man caught in the vise of circumstance, Robinson proves his own worst enemy. When fellow club member Raymond Massey, a police inspector, chats casually about the crime, Robinson blurts out details that only the killer could have known. And as the jaws of the vise squeeze ever more tightly, Robinson devises ever more desperate stratagems to hide his guilt and protect Bennett...

While Robinson proves reliably expert, Bennett invests her part with a reserved, almost remote, air that lends to the uncertainty. Her cool contralto beckons, but she plays hard to get. Her arrangements with her dead paramour suggest something sordid but she's not quite the tramp she would be the following year in Scarlet Street (again opposite Robinson and under Lang).

The sure-footed Lang simply uses a public clock down the street from Bennett's brownstone to log in a precise chronology of the fateful night. That befits a plot which leans toward the clockwork, but plausibly so. Or rather, does until just its last few minutes. For all intents and purposes, the movie ends, convincingly and satisfyingly, with Robinson slumped in a chair, clutching a drained glass. But MGM wasn't yet ready for the uncompromising vision of the emergent noir cycle, and must have recoiled in horror. So a whimsical wrap-up was hastily grafted on. Some would argue that, in consequence, the movie falls into the valid subcategory of `oneiric' noir. Others would argue that it's just a craven cop-out, at cross purposes with all that's gone before. Luckily, The Woman in the Window displays enough artistry and integrity that it really doesn't matter all that much either way.

Woman in the Window (1944)

A methodical movie about a methodical cover-up. Edgar G. Robinson is the perfect actor for a steady, rational man having to face the crisis of a murder, and Fritz Lang, who has directed murderousness before, knows also about darkness and fear. There are no flaws in the reasoning, and if there is a flaw to the movie, it is it's very methodical perfection. Even the flaws are perfect, the mistakes made and how they are shown.

We all at one time or another get away with something, large or small. And this law-abiding man finds himself trapped. He has to succeed, and you think he might. Part of me kept saying, I wouldn't do that, or don't be a fool. But part of me said, it's inevitable, he'll fail, we all would fail. So the movie moves with a steady thoughtful pace. It talks a lot for an American crime film, but it also has the best of night scenes--rainy streets with gleaming dark streets, hallways with glass windows and harsh light, and dark woods (for the body, of course). But there are dull moments, some odd qualities like streets with no parked cars at all, and a leading woman who is a restrained femme fatale, which isn't the best. And then there are twists and suspicions, dodges and subterfuges. And of course Dan Duryea, who makes a great small-time chiseler.