This is a fascinating, however flawed film. It's hardly perfect, as so many of the negative reviews here will attest. But it's not nearly as awful as so many people expecting something else - more blood? more bodies? more shock cuts? more exposition? more girl-on-girl action? - might suggest. "Windows" is the only film directed by celebrated cinematographer Gordon Willis, the "Prince of Darkness" who photographed the Godfather films, "All the President's Men" and a number of Woody Allen's best films made between 1977 and 1985.
"Windows" is a stunningly beautiful film, shot on location in Brooklyn with many gorgeous shots of NYC (with the Twin Towers off in the distance) and many angles of the Brooklyn Bridge. Willis was a native New Yorker and obviously loves the city (as evinced in the gorgeous "Manhattan") and he films New York in a way that makes you feel like you are part of the story. The story that was filmed obviously differs from the original script ("Corky") that was provided. Willis seemed to want a movie that was more Hitchcock (think "Rear Window") than Hitchcockian (think "Dressed to Kill"). But the result is, well, not much of either. Indeed, Elizabeth Ashley's character went from man-transitioning to manly lesbian...like that made any more sense. And Talia Shire's damsel in distress is, well, just distressing.
There was also a bit more Hitchcockian humor in the original script, which is unfortunately absent here. Many things appear to be missing here: scene after scene ends suddenly and unresolved; some scenes play out with no dialogue or resolution; Ennio Morricone's score seems heavily edited; Talia Shire's character, Emily, doesn't seem to be all there herself - and her oddity doesn't explain her sexual appeal to everyone; Emily's relationship with Andrea (pronounced not like the woman's name, but rather a man's name) is never realistically explained; the attack at the beginning of the film seems unusually staged (even though that's exactly what it is) - and the cab ride with the perp is unbelievable in the extreme. The film winds up as a series of weird compromises that cannot have pleased anyone.
Still, "Windows" is worth watching. Willis may not have made a great director, but what he puts up on screen is utterly fascinating. The way he lights scenes and doesn't light faces is amazing. He can make you fear Elizabeth Ashley while she does little more than throw a creepy shadow. The location shooting can't be beat. Elizabeth Ashley gives a bravura performance, even if it doesn't make much sense...but there's no accounting for someone in love. Even if the final film differs from what might have originally been intended, there is something here, as in "Eyes of Laura Mars," "Cruising," "American Gigolo" and "The Fan," that is credible and fun to watch. It's also a top-tier NYC film.
"Windows" is a stunningly beautiful film, shot on location in Brooklyn with many gorgeous shots of NYC (with the Twin Towers off in the distance) and many angles of the Brooklyn Bridge. Willis was a native New Yorker and obviously loves the city (as evinced in the gorgeous "Manhattan") and he films New York in a way that makes you feel like you are part of the story. The story that was filmed obviously differs from the original script ("Corky") that was provided. Willis seemed to want a movie that was more Hitchcock (think "Rear Window") than Hitchcockian (think "Dressed to Kill"). But the result is, well, not much of either. Indeed, Elizabeth Ashley's character went from man-transitioning to manly lesbian...like that made any more sense. And Talia Shire's damsel in distress is, well, just distressing.
There was also a bit more Hitchcockian humor in the original script, which is unfortunately absent here. Many things appear to be missing here: scene after scene ends suddenly and unresolved; some scenes play out with no dialogue or resolution; Ennio Morricone's score seems heavily edited; Talia Shire's character, Emily, doesn't seem to be all there herself - and her oddity doesn't explain her sexual appeal to everyone; Emily's relationship with Andrea (pronounced not like the woman's name, but rather a man's name) is never realistically explained; the attack at the beginning of the film seems unusually staged (even though that's exactly what it is) - and the cab ride with the perp is unbelievable in the extreme. The film winds up as a series of weird compromises that cannot have pleased anyone.
Still, "Windows" is worth watching. Willis may not have made a great director, but what he puts up on screen is utterly fascinating. The way he lights scenes and doesn't light faces is amazing. He can make you fear Elizabeth Ashley while she does little more than throw a creepy shadow. The location shooting can't be beat. Elizabeth Ashley gives a bravura performance, even if it doesn't make much sense...but there's no accounting for someone in love. Even if the final film differs from what might have originally been intended, there is something here, as in "Eyes of Laura Mars," "Cruising," "American Gigolo" and "The Fan," that is credible and fun to watch. It's also a top-tier NYC film.