"Windows" is a leisurely paced, not terribly interesting drama about meek New Yorker Emily Hollander (Talia Shire of "The Godfather" and "Rocky" fame). She is targeted by a neighbor, Andrea Glassen (Elizabeth Ashley, "92 in the Shade", "Coma"), an unstable lesbian. Andrea will go so far as to hire a scummy cabbie (Rick Petrucelli) to assault Emily and record her cries and moans. The balance of the story details what happens as Andrea continues to obsess over Emily, and the latter is attracted to a nice guy detective (Joseph Cortese, "Evilspeak", "Monsignor").
Renowned cinematographer Gordon Willis ("The Godfather", "Annie Hall") made his first and only directing effort with this film, which is not all that successful, unfortunately. If he had fully embraced the trashy elements of this material, that would have been one thing. It may have been distasteful to some viewers, but at least it would have been more entertaining than this. Willis directs it like an art house film, and it is lovely to look at (after all, he also served as his own cinematographer), but it's fatally bland.
And speaking of bland, Shire and Cortese are dull as dishwater. It's hard to imagine why Ashley would have much interest in her, or why she would have much interest in him. The only main performer here who's even slightly intriguing is Ashley, who plays her lovelorn, disturbed character more low key than you might expect.
Other than Ashley, the principal value lies in Willis' lighting and the pleasant music score by virtuoso composer Ennio Morricone.
Otherwise, this is not one film that this viewer would easily recommend to potential viewers.
Five out of 10.
Renowned cinematographer Gordon Willis ("The Godfather", "Annie Hall") made his first and only directing effort with this film, which is not all that successful, unfortunately. If he had fully embraced the trashy elements of this material, that would have been one thing. It may have been distasteful to some viewers, but at least it would have been more entertaining than this. Willis directs it like an art house film, and it is lovely to look at (after all, he also served as his own cinematographer), but it's fatally bland.
And speaking of bland, Shire and Cortese are dull as dishwater. It's hard to imagine why Ashley would have much interest in her, or why she would have much interest in him. The only main performer here who's even slightly intriguing is Ashley, who plays her lovelorn, disturbed character more low key than you might expect.
Other than Ashley, the principal value lies in Willis' lighting and the pleasant music score by virtuoso composer Ennio Morricone.
Otherwise, this is not one film that this viewer would easily recommend to potential viewers.
Five out of 10.