Bedroom Window

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Overview

In director/writer Curtis Hanson's 1987 chiller The Bedroom Window, architect Steve Guttenberg takes pity on Isabelle Huppert, the apparently put-upon wife of his brutish boss Paul Shenar. Guttenberg commences an affair with Huppert and during a break between seductions, Huppert hears a woman screaming from outside her bedroom window. She looks down to see a mysterious man strangling helpless victim Elizabeth McGovern. By the time Guttenberg comes to the window, he can see only a crowd of spectators. The next ...
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Overview

In director/writer Curtis Hanson's 1987 chiller The Bedroom Window, architect Steve Guttenberg takes pity on Isabelle Huppert, the apparently put-upon wife of his brutish boss Paul Shenar. Guttenberg commences an affair with Huppert and during a break between seductions, Huppert hears a woman screaming from outside her bedroom window. She looks down to see a mysterious man strangling helpless victim Elizabeth McGovern. By the time Guttenberg comes to the window, he can see only a crowd of spectators. The next day, Guttenberg learns that another girl has been attacked and murdered, and begins to deduce that the killer may be the same person who assaulted McGovern. He wants to go to the police, but Huppert refuses to get involved. Or is she already involved?
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Editorial Reviews

All Movie Guide
The Bedroom Window is a diligent, suspenseful thriller from Curtis Hanson, who started as a proficient director of genre films (The River Wild, The Hand That Rocks the Cradle) before receiving widespread acclaim for L.A. Confidential. Hanson's trademark narrative efficiency is on display, making for a tense, focused story that mostly steers clear of predictability. In keeping with the director's minimal flash, leads Steve Guttenberg and Elizabeth McGovern exude comfort and competence, but little of the personality or charisma that would distract from his tight screenplay. Brad Greenquist does, however, make a menacing suspect, sporting a mixture of baby-faced innocence and deep-seated perversion. In one of the film's many nods to Hitchcock, Greenquist's eyes refocus with a murderous new understanding when he makes courtroom eye contact with the woman who witnessed his attack (Isabelle Huppert) -- a bit like the moment in Rear Window when Raymond Burr finally stares back at James Stewart's binoculars. Although the third act loses some steam from its promising predecessors, and there are some noticeably loose plot threads, these elements are too unimportant to undermine this smart little piece of noir entertainment.
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Product Details

  • Release Date: 1/31/2000
  • UPC: 013023030695
  • Original Release: 1987
  • Rating:

  • Source: Geneon [Pioneer]
  • Region Code: 1
  • Aspect Ratio: Pre-1954 Standard (1.33.1)
  • Presentation: Mono
  • Sound: monaural
  • Language: English
  • Time: 1:55:00
  • Format: DVD

Cast & Crew

Performance Credits
Steve Guttenberg Terry Lambert
Elizabeth McGovern Denise
Isabelle Huppert Sylvia Wentworth
Paul Shenar Collin Wentworth
Frederick Coffin Detective Jessup
Wallace Shawn Defense Attorney
Carl Lumbly Detective Quirk
Brad Greenquist Henderson
Francis V. Guinan Jr. Bartender At Edgar's
Terry Lambert
J. Richard Leonard Court Clerk
Jodi Long Jeanne
Libra Marrian Secretary
Robert Schenkkan State's Attorney Peters
Maury Chaykin Pool Player
Sara Carlson Dancing Girl
Mark Margolis Man in Phone Booth
Kate McGregor-Stewart Blowsy Neighbor
Penelope Allen Judge
Myvanwy Jenn Maid
Kevin O'Rourke 1st Policeman
Sydney Conrad First Victim
Wendy Womble Receptionist
Scott Colson Usher
Carl Whitney Man in Theater
Richard McGough 2nd Policeman
Richard Olsen Late Night Shopper
Leon Rippy Seedy Bartender
John Patrick Maloney Pool Player's Friend
Kerry Lang Waitress at Edgar's
J. Michael Hunter Pool Player
Joyce Flick Wendl Henderson's Mother
Joyce Greer Police Receptionist
Winston Hemingway Bailiff
Craig Jahelka TV Newsman
Tobi Marsh TV Newswoman
Michael Burgess Assistant State's Attorney
Technical Credits
Curtis Hanson Director, Screenwriter
Jon Butcher Songwriter
Raun Butcher Songwriter
Clifford Capone Costumes/Costume Designer
Rafael Caro Art Director
W.C. Clark Songwriter
Mary Colquhoun Casting
Scott Conrad Editor
Erik Cord Stunts
Bill Daly Sound/Sound Designer
Martha de Laurentiis Producer
Lamont Dozier Songwriter
Stefano Fava Makeup
Ron Foreman Production Designer
Patrick Gleeson Score Composer
Bill Hart Stunts
Tony Haynes Songwriter
Mildred J. Hill Songwriter
Patty S. Hill Songwriter
Edward Holland Songwriter
Brian Holland Songwriter
Richard James Songwriter
Mike Kendred Songwriter
Dennis Nelson Songwriter
Michael Owens Choreography
Robert Palmer Songwriter
Jeff Ramsey Stunts
Thomas Rosaies Stunts
Hilton Rosemarin Set Decoration/Design
Martha Schumacher Producer
Michael Shrieve Score Composer
Lincoln Simonds Stunts
Jeff Smolek Stunts
Gilbert Taylor Cinematographer
Robert Towne Executive Producer, Producer, Screenwriter
Danny Wilde Songwriter
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Customer Reviews

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  • Anonymous

    Posted September 14, 2014

    The Bedroom Window is based on a novel by Anne Holden called The

    The Bedroom Window is based on a novel by Anne Holden called The Witness. Someone in marketing may have wanted to play up the plot's similarities to Rear Window, but there are some important differences that will become apparent within the first ten minutes of the film. For starters, hero Terry (Steve Guttenberg) is not in a cast at any point in the proceedings. He is also not an aw-shucks boy-next-door type, although he may very well be a romantic fool. The film opens by introducing his first encounter with a new lover, Sylvia (Isabelle Huppert). Sylvia is blonde, glamorous, sophisticated - and married. This movie takes a lot of its tropes from film noir, but it is pure '80's. Later that night, Sylvia witnesses an attack on Denise (Elizabeth McGovern) outside Terry's bedroom window. She makes some noise and scares off the attacker, but she is reluctant to talk to the police about what she saw because she's not ready for the scandal. So Terry offers to be the witness in her stead. Terry winds up deeper and deeper in it as his well-meant lies and subsequent desire to make up for them start to spiral out of control. A large part of the watchability factor of this movie is in the de-douchifying of Terry as he learns how to be a better man. There are also a lot of missed opportunities, like in how Sylvia's husband at one point tosses Terry an antique weapon and smarms about what great condition it's in. Now Terry's fingerprints are all over a potential murder weapon, but don't expect that gun to ever be fired, because the scriptwriter dropped it cold. There's also a plot hole a mile wide later in the film when Terry and Denise try to spring a trap. And there is so much '80's music. A lot of this movie is set inside of bars, where the '80's soundtrack blares in all its syncopated glory. There's a lot of '80's ness in general for a neo noir film. The '80's: possibly the only time in history when a stick thin blonde in a khaki skirt could jump on a table and spin her hair like a pinwheel and the men would go wild as if it were Rita Hayworth singing a torch song up there. All in all it's still an interesting time capsule of a thriller.

    Was this review helpful? Yes  No   Report this review
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