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Windows (1980)

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Shire is the subject of a perverse obsession by a Lesbian neighbor, Andrea, who not only is in lust with her but hires a rapist in order to get audio tapes of her moaning. Ashley turns ... See full summary »



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Title: Windows (1980)

Windows (1980) on IMDb 4.5/10

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Shire is the subject of a perverse obsession by a Lesbian neighbor, Andrea, who not only is in lust with her but hires a rapist in order to get audio tapes of her moaning. Ashley turns pepping tom and watches Shire with a telescope as she begins an affair with Det. Cortese. Written by Dale Berryessa

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new york city | See All (1) »


It does no good to lock the doors. See more »


Drama | Thriller


R | See all certifications »




Release Date:

18 January 1980 (USA)  »

Also Known As:

Corky  »

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Final film performance of Kay Medford. See more »


Featured in The Celluloid Closet (1995) See more »

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User Reviews

Lousy script, weak acting and a magnificent photography.
28 August 2012 | by (São Paulo, Brazil) – See all my reviews

So silly that it's almost intelligent, and so bad that it's almost good. Explaining "Windows" is so embarrassing that everything about it sounds so unbelievable, so marvelous and so insane that one might think I'm inventing this film with such a nonsense plot.

Brief details of the event: Talia Shire is having a fine day, walks back home and then she's assaulted by this mysterious man who threatened with a knife. The police is called, investigates and her dedicated neighbor Andrea (Elizabeth Ashley) comes to support her. Next thing we know is that she's the one who arranged for this attack so she could hear Talia screams and moans. Why? Because she's obsessed with her, she desperately loves her. That's what we're led to believe. The rest of the movie is just showing Andrea's failed attempts to get near her friend/neighbor, the analysis she has with her psychiatrist (should I feed you with more info or the picture is already formed in your head on who Andrea is), Shire's involvement with the detective (Joseph Cortese) following her case and interested in her as well.

The screenplay by Barry Siegel (so far his only work) is pitiful, mildly gripping, prejudiced by its meanders. It's entirely limited to clichés from psycho films but also trying to make a drama that's isn't inquisitive nor fully interesting, and even flirts with the romance that only works in the detective/victim relationship but forces too much when the final moments walks in (one of the most annoying anti-climax endings ever made). It's the kind of screenplay that needed to be wrote and rewrote countless times to finally get the chance of being decent or appealing to audiences. This is so "Fatal Attraction" before "Fatal Attraction", with threats, deaths, obsessions and all when it could be a much lighter film, psychological and positive to be seen.

Why people are so bothered by the portrayal given to the lesbian character in here? It wasn't so prejudicial, it showed a variation of a behavior and it wasn't setting this psychotic mannerisms as a pattern like the one developed in the controversial "Crusing" where all the gay characters were strong male sympathizers of S&M (even with that in mind, the bad reviews and the protests, that movie accomplishes to be greater than "Windows"). It's a little focused on stereotypes but it's not so hurtful or annoying.

"Windows" was Gordon Willis first and only film sitting on the director's chair, after many years as being one of the greatest cinematographers of all time. His photography here is beautiful, dark, perfectly match with the movie, and he filmed glorious shots of New York's street scene of the 1980's are there's lots of them in the movie, perhaps the most enjoyable aspect of the film. Too bad his direction of actors is cheap, confused and inspireless. I don't blame him all that much. With a script like that, there isn't much one can do. I might blame the casting director just a little. At times, there's this vague sensation of seeing something that is about to be good, a thoughtful project but when the actors are talking, "acting" and representing everything sounds phony and creepy. Stranger than this is when all the actors seem to getting up on scene while the story keeps going down and ridiculous. Shire shows some versatility in playing the stutter victim but there isn't much she can do with a weak, fragile, broken to pieces character. Ashley is playing this male hater yet with some masculine aspects, rough, rarely delicate (only when reading her love poem to the doctor) and this is the kind of character that in a good movie would be more important than the victim, a profound characterization of body and soul. But no, she's out of time and it's unbearable to watch at times.

I have said too much, I know, you're probably running to watch this now. Gladly, this is a little difficult to find. I'll take the suggestion of a fellow reviewer here and support a remake of this film since there's things in it that can be better explored now. But I add this: trade the women and replace them for men. I'm imagining this movie right now. It can be awesome, far more violent and please, whoever made this, emphasize just a little the romantic point of view of someone's suffering for not having the other person instead of just planning attacks and recording moans. That was so brutal and wrecked of what could be a good film. 4/10

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