Between Nocturnal Animals, Sharp Objects and this, is Amy Adams kinda becoming a giallo queen? Or just a woman in danger of being killed and/or going insane? Umm, isn’t that a giallo queen?
You know what also seems like a mystery worth digging into? The writer of the book that this was based on, A.J. Finn, is really a book editor named Dan Mallory who may or may not have lied in regards to — according to this New Yorker article — having a doctorate from Oxford, multiple family and personal cancer battles and he death of his still-alive father, mother and brother. Plus, there are allegations that he took on the identity of his brother to send emails about a fake cancer condition — fake online identities are part of the story of The Woman in the Window — and that pretty much the entire story of The Woman in the Window didn’t come from his imagination.
The article then presents us with a summary of a story: “An American woman in mid-career, a psychologist with a Ph.D. and professional experience of psychopathy, is trapped in her large home by agoraphobia. She has been there for about a year, after a personal trauma. If she tries to go outside, the world spins. She drinks too much, and recklessly combines alcohol and anti-anxiety medication. Police officers distrust her judgment. Online, she plays chess and contributes to a forum for stress-sufferers, a place where danger lies.”
Yes, that could be this movie. But it’s also the 1995 Sigourney Weaver-starring film Copycat.
And it’s also very similar to Sarah A. Denzil’s Saving April, including an identical ending.
So yes, the world has many magical moments and I believe in the collective unconsciousness, but this is too much to bear.
Maybe we should just discuss the movie before I’m tempted to dish on my own experiences with people who continually reached out to me with personal narratives that were easily disproven.
Anna Fox lives alone in Manhattan after separating from her husband Edward who lives somewhere else with their daughter — can you guess this plot twist? — and her agoraphobia, prescriptions and alcohol abuse keep her inside the house. Yet one night, she meets her new next-door neighbor Jane Russell (Julianne Moore) and her son Ethan, who seems abused.
Then, like Rear Window, she watches Jane die at the hands of her husband Alastair (Gary Oldman). When she calls the cops, she meets Jane again, who is now Jennifer Jason Leigh and reality starts to be untrustworthy for our protagonist.
You know how in Scream they make fun of the cliches of slashers while still following them? Like somehow it’s just fine to make the same narrative choices as long as you reference them? That’s what Anna’s collection of Hitchcock films is all about. So if you show scenes from Spellbound, Dark Passage and Laura — as well as Rear Window — you can take as much as you want. Someone get Argento and DePalma on the phone and let them know that critics who took them to task just for referencing so much Hitchcock that if they had only had some clips and hammered home references, all would have been fine.
There’s also Anna’s slightly sleazy boarder David Winter (Wyatt Russell, somehow always a jerk in movies) and the police who are no help — hello, this is a giallo — with Detective Little (Brian Tyree Henry) only coming around to Anna’s truth by the end of the film.
You know, they should just make the life of Dan Mallory into a movie.
But then everyone would think it was ripped off from The Talented Mr. Ripley.