Really, Since in August of the year it was announced that Disney was selling the distribution rights of ‘The Woman in the Window’ to Netflix, it was when the public had to suspect that something was happening with the new Joe Wright film, once acclaimed director for having made ‘Pride and Prejudice’ and ‘Atonement, Beyond Passion’. Above all, because the sale of rights came after the company delayed its premiere for a year to re-record several scenes.
Now, the adaptation of the homonymous novel by AJ Finn arrives on the platform and that is when it is understood why Disney sought to get rid of the production, taking advantage of the situation due to the coronavirus pandemic. The main reason is that ‘The Woman in the Window’ looks like the B series version of the mythical ‘Rear Window’, surpassing even the infamous remake produced for television that Christopher Reeve starred in 1998. The references, the parallels, are too many.
Due to the fact that several sequences were filmed, it remains the question of what have been the patches of this story that, really, begins on the right foot. With a script written by Tracy Letts – who also stars on the film -, the film has an attention-grabbing first part that creates an atmosphere of mystery reminiscent of the mythical ‘Copycat’, giving the feeling that the homage to Hitchcock’s celebrated feature film will remain in the title and in the protagonist’s modus operandi.
An ideal thriller to enjoy at home during the after dinner
But not, Letts’s script is the slave of a story that may serve to create literary best-sellers but that, cinematically, are real challenges -for how difficult it is to escape the cliché. Although David Fincher’s play went well with ‘Lost’; Joe Wright skates, staying more in the area of other tremendously similar titles such as ‘The girl on the train’ or ‘Dark places’. The tension and atmosphere of the beginning give way to a predictable narrative, with sequences that border on the absurd and that come to ask if that serious and solemn tone seeks to create a laugh in the public.
His cast is incredibly wasted. Amy adams She is a magnificent actress, her six Oscar nominations (and the two that the Academy owes her for ‘The Arrival’ and ‘Nocturnal Animals’), attest to that. However, as It happened with the recent ‘Hillbilly, a rural elegy’, it has moments in which it offers such intensity, that it ends up falling into parody. It also happens with the rest of the cast, especially Gary Oldman and Jennifer Jason Leigh. Neither do new talents shine, It seems that Wyatt Russell could suffer the same fate as Scott Eastwood if he does not know how to choose his projects better.
And it is that its stellar cast cannot remove the sensation of watching one of those tabletop thrillers that abound on private channels. In fact, if ‘The woman in the window’ gets titled ‘The secret of the basement’, ‘The obsession of a mother’ or ‘Fear of living’, it would have hit the mark. It is true that Joe Wright returned to prestigious cinema with the classic biopic, ‘The darkest moment’, but with this proposal, the British director returns to the same box as ‘Pan (Journey to Neverland)’ and that which he played with a film whose setting is reminiscent of the recent confinements. When Disney or Universal sell something to third parties -the only majors to do so in a minority way-, we will have to be suspicious.
The best: The emergence of Julianne Moore, perhaps the best part of the film.
Worst: The sequence in which Amy Adams remembers her past, giving a speech so grossly exaggerated that it seems parodic.