THE WOMAN IN THE WINDOW

US, 1945, 99 minutes, Black and white.
Edward G. Robinson, Joan Bennett, Dan Duryea, Raymond Massey.
Directed by Fritz Lang.

For the most part a very effective thriller. Directed by Fritz Lang, an expert director of thrillers and science fiction in Germany of the twenties and of westerns and thrillers in the forties in America, it was written by Nunnally Johnson, the author and director of many thrillers and comedies of the fifties.

What harms the film is the trite ending wherein all is revealed to be a dream of the Professor. Had the film ended without the dream it would have been most gripping and most telling. As it stands, however, it is very good indeed and the dream could be interpreted in effective psychological ways.

Edward G. Robinson is most persuasive an the Professor. Joan Bennett perhaps not so persuasive as the Woman in the Window. Dan Duryea is the villain. The cast was teamed again the following year with Lang for the thriller Scarlet Street.

1. How effective and impressive a thriller? The director's background from the German industry of the twenties and thirties his constant interest in thrillers and the psychology of crime?

2. Black and white photography, sets, musical score, the effectiveness of the stars especially Edward G. Robinson and the images in his career?

3. Comment on the effectiveness of the screen play: the importance of establishing the setting with the Professor and his lectures on homicide, the mystery and fascination of the woman in the window, the illustration of the Professor's character, Alice's character? The move to the crisis from a romantic and ambiguous atmosphere of sexuality to the violence? The ambiguity of motives? The drawing of the audience to identify with the Professor in his fear and his decisions? The swift action of the Professor and yet his not realizing how he was open to detection? The rediscovery of the crime and the following through of the clues? The tension of the blackmailer and the tension on the Professor even to death? The quality of the screenplay, the compelling nature, the questions about guilt and audiences identifying with the decisions, actions and motives of the Professor and Alice even to the killing of the blackmailer?

4. Audience response to the revelation that it was all a dream? Hoy did this add or subtract from the overall effect? If the film had ended with the phone ringing and the Professor dying? The dream as a teasing of the audience? The psychology of dreams and the personalities in the Professor's dream - the fascination with the woman in the window, the subconscious of violence and deceit that was in the Professor, even to murder? The ironies of the people in the dream being the staff of the club?

5. The personality of the Professor? His theory about justifiable homicide in self-defence end homicide for money ? and the irony that his dream would illustrate both? Edward G. Robinson's style as the Professor? How well could audiences identify with him with his family, friends at the club. holiday and lectures? His fascination with the woman in the window?

6. How was the Professor revealed in the particular sequences - at the club, with his intellectual friends, the fascination with Alice and her ability to lead him on, his decision to go to her home? The confrontation of Mazard and his being throttled? The violence of his self-defence and the killing with the scissors? His hesitation washing his hands, thinking of the police, changing his mind, the motive for covering up the’ death, the way that he came to the decision, collaborating with Alice - leaving his vest (and her stealing the pen with its dire consequences)? His experience with the car and the carrying out of the body, the police at the crossing. at the toll gate? The getting rid of the body and the barbed wire, poison ivy, tyro tracks etc.? His living in fear and uncertainty?

7. The portrait of Alice - femme fatale type, luring him to her house and keeping him out, the collaboration about the cover up? Her communicating with him after seeing him in the paper, the gradual dependence on the telephone for communication for her fears? The confrontation with the blackmailer, her ability to deal with him? The walk in the street and the plan for his death? Her anxiety in trying to kill him? The audience wanting him to drink the poisoned drink? His turning the tables on her? Her discovery of his death and the irony of the final phone call? A symbol of sexuality and allurement? leading to violence? In the psychology of the dream and Alice as an objectification of his fascination with the portrait?

8. The presentation of Lalor and his friend? The doctor? The establishing of clues, the Professor re-living his crime and giving himself away so often? The background of police work and their ability for detection?

9. The portrait of the blackmailer and his sinister aspects, the gradual tension as he encountered Alices, the return and the drink for his death and his turning the tables? The irony of his death?

10. The build-up of tension and the decision of the Professor to take his own life? As an ending for the film?

11. What light did the film throw on man's subconscious. the meaning of the potential for violence, conscience?

12. Was this affected by the anticlimax of the ending and the droll nature of the Professor seeing the personalities, the new Woman in the Window and his scurrying away?

13. The possibilities of the conventions of murder mysteries to reveal audience motives and drives?