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"The Woman in the Window" THEN "Scarlet Street"

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> {quote:title=finance wrote:}{quote}

> WOMAN IN THE WINDOW was better.


Can't agree. I'd say *Scarlet Street* was by far the better film. I do like both of them, but *Woman in the Window* has a weak ending. The ending of *Scarlet Street* will stay with the viewer forever .


Also, the Edward G. character in *Scarlet Street* is a more interesting character - such a wuss, so conflicted, morally upright yet capable of embezzling the company funds, stodgy yet uncontrollably attracted to an irresistibly sexy low-life tart.

There's not the same kind of inner conflict in *Woman in the Window*.


And there's nothing in *Woman in the Window* like the apron-wearing, dish-washing scene, with our man Edward G. meekly submitting to his harpy wife's domestic orders.

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> {quote:title=Ascotrudgeracer wrote:}{quote}

> In "Window" the scene wherein Robinson is backseat with cops in police captain car: Edward G. thinks maybe HE is their suspect when a detective assures him the police have one great advantage when catching a killer...

> "...Time."


That is a good scene...I didn't say they were lacking in *Woman in the Window*, I like the film a lot. I'm just saying that *Scarlet Street* is even better.


Another point to my argument: the Joan Bennett character is more interesting, more developed, in *Scarlet Street*. She's more fun to watch, trashy as she is. In *Woman in the Window*, she's not so memorable...she's as ephemeral as a dream (gee, I wonder why?)


mrroberts, you're so right...neither film would be the same without my favourite snarky boy, Dan Duryea.

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I still have not seen Woman in the Window but finally saw Scarlet Street last night. This is now my 2nd favorite American Lang film (well it is hard to beat The Big Heat).


Edward G. Robinson was fantastic, I've seen him play many types of characters before but this naive old man was a first and he pulled it off brilliantly.


If there was a weak point of the film for me I have to admit it was Dan Duryea. He came off as a bit of a caricature to me not a well defined character *shrugs*


I also loved the scene in the room when Eddie G was first hearing the voices. It seemed very much to be Lang's personal touch. In fact it reminded me of a similar scene in The Testament of Dr. Mabuse.




edit: Btw does anyone know if TCM ever played Renoir's version of this story La Chienne ? I would really like to see that as well.


Edited by: Kinokima on May 12, 2011 12:41 PM

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misswonderly, I agree with your opinion!


There is a "pathetic" factor in the character of the main 3 in "Scarlet" that is not in "Window". This pathetic works in film noir. EGR playing such a simp, Joan a two timer, who is a simp when it comes to her boyfriend, and Dan Duryea playing such a controlling, abusive, loser - it all works.


Scarlet Street's story holds up so well today. These kinds of triangles exist, even when murder isn't in the mix: A woman who has an abusive and controlling boyfriend, runs into the arms of a comforting man who is smitten and willing to help her. These kinds of triangles are usually behind some of these American TV court shows where someone will sue another person for loans and the person's only defense is that "it was a gift".


I found Scarlet Street to be more suspenseful (the first time I saw it) I didn't know what to expect and the ending definitely has stayed with me.

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Where does the title "Scarlet Street" come from?.........The reason I prefer WOMAN IN THE WINDOW is that the SCARLET STREET plot seems a bit far-fetched, on many levels. That's not to say that the concept of the entire plot being a dream (WITW) is necessarily near-fetched.

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>>Where does the title "Scarlet Street" come from?.......<<


Maybe we're back to blood in the streets in the town of New Haven. :)


I've always thought it was sort of an association with a red light district or a scarlet woman, another name for prostitute. Had Chris Cross never walked down this street, he wouldn't have been been caught between the moon and New York City.

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I've seen a short on TCM that covers the home life of the stars and there is footage of Dan Duryea as a scoutmaster. Who wudda thought...


Actually, my mother comes from White Plains as did Duryea. People there who knew him were quite surprised to see him so villainous on the screen. Apparently he was Mr. Nice Guy in his home town, a studious kid who grew into a straight-arrow businessman who had a smile for everyone.

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Hi everyone. I watched the Scarlet Street screening last night.


The film is very strong indeed! It almost becomes sappy at times, but Lang does a superb balancing act, keeping the horror of what's happening to Robinson at the forefront of the action. The performances are uniformly superb.


You know what really disappointed me though? It seemed like the entire film was badly cropped!


I was consistently noticing almost half of the characters heads being chopped off at the top of my screen. I tried adjusting my TV to each perspective setting it has, all to no avail. It got to the point where it had somewhat of an impact to my enjoyment of it.


The whole time I'm thinking, "C'mon! Fritz Lang knew what he was doing, and he certainly didn't put the camera where he did to obscure the character's faces from the viewer!". A little frustrating.


The story itself, wonderfully icky! Poor Edward G. Robinson, it's like he's getting run over by a runaway train in this thing. Between his ultra shrewish wife berating him into a little nub of a man, to Joan Bennett's hateful deceits, it's one long, slow descent into the abyss for our little man.


Really good stuff. Thanks to TCM for again bringing the Noir to us all.


As for Fritz Lang's American films, I don't think anything, not even The Big Heat, tops Fury for me. I think Fury is a true masterpiece of tension, revealing more about the vagaries of the human heart than anything else Lang did.


I fell in love with Sylvia Sidney in this film. To see the look on her face when she reaches Joe, apparently too late, and witnesses what "happens" to him, it's pure cinematic terror and horror, and it just about more than anyone should have to bear.


And what really gets me is Spencer Tracy. Here's a man who is so deeply in love with Sylvia Sidney. He'd do anything to be with her. But the way he is wronged in this story, the pure hatred and contempt that is hurled at him is just too much to take. And when you realize that Spencer has nearly forgotten what Sylvia's love meant to him, it's just....heartbreaking. What a great, great film.


I noticed while sneaking a peak at the schedule later this summer that Fury is going to be screening at some point in the near future. Please check it out if you're of a mind. I'd love to know what people think of it, and how they rate it in Mr. Lang's extremely deep canon of superior work.

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Fury is now my 3rd favorite American Lang film (keeping in mind I have not seen them all).


I agree with you Sylvia Sidney was excellent but I wasn't as convinced by Tracey's portrayal in the 2nd half of the film. Also while I loved the mob scenes the later court room scenes didn't work for me.


However the best part about Fury for me is listening to the Lang commentary. I barely ever listen to commentary but that was just so exciting for me that when I saw it was on the DVD I watched the film twice in one night.

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*Scarlet Street* was by far the better film.


I must agree. SCARLET STREET is quietly creepy. Character oriented and full of surprises, almost every frame says something important.


> And there's nothing in *Woman in the Window* like the apron-wearing, dish-washing scene, with our man Edward G. meekly submitting to his harpy wife's domestic orders.


Little Caesar, Barton Keyes and this lovestruck sap. Who but a brilliant actor could claim such range?


Edited by: redriver on May 12, 2011 6:52 PM

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Common knowledge I would think not but I did already say it in this thread ;)


1- Big Heat

2- Scarlet Street

3- Fury


But that is only talking about his American films. My favorite will always be M.

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Metropolis for me is Lang's best film, and a movie decades ahead of its time. I still can't believe that movie was made in 1927. Best silent film ever in my opinion.


As for Scarlet Street and A Woman in the Window, I liked both of them and think they're some of Lang's best American films.


However, as someone else mentioned, the ending of A Woman in the Window was weak. It's an utter disaster and a cop out.


I'm starting to really like Joan Bennett and need to see more of her films.

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