curtis hanson

poster

While reading reviews of Subservience, I noticed quite a few people referencing The Hand That Rocks the Cradle as a clear influence. I couldn’t remember if I had watched that one before so I queued it Saturday morning.

It is a movie I distinctly remember knowing about when it came out. I remember the trailers and people talking about it. It was a part of a slew of films that came out in the early 1990s that were like big-budgeted, R-rated Lifetime movies. They usually featured Rockwell-esque domestic life being shattered by some pretty, young woman.

Directed by Curtis Hanson, this film is better than most of those films. It sometimes subverts the genre in interesting ways, but even when it plays it straight, Hanson is a good enough director to make it rise above.

Claire Bartell (Annabella Sciorra) is a happy housewife. She has a loving husband, Michael (Matt McCoy), a young daughter Emma (Madeline Zima – who played the mother in Subservience which is a nice bit of casting), and a baby on the way.

When she is sexually assaulted by her obstetrician (in a scene that foreshadows its creepiness so much that my wife left the room before anything untoward actually happened) she comes forward. Other women come forward after that and the Doctor decides to kill himself before he can be arrested. The doctor’s wife, Peyton (Rebecca DeMornay) miscarriages when she learns the news.

Flash forward a few months. The baby is born and Claire decides she wants a nanny. Not to go back to some job, mind you, but she volunteers at a nursery and she wants to build a greenhouse in her backyard. So she’ll be close by, but it would be nice to have someone watch the kids, clean up a little, and maybe cook once in a while.

Enter Peyton and her devious ways. What’s interesting about the film is that it doesn’t do what you expect it to. In most films like this Peyton would seduce the husband, then turn him against the wife. But here, despite nearly every other male character saying something about how beautiful Peyton is and how they wish she was their nanny, and despite Peyton actually trying, Michael will not give in to temptation.

Likewise rather than attempting to turn the family against Claire, she turns Claire against everyone close to her. The local handyman (Ernie Hudson) who dotes on Emma, might just be a pervert. The friendly relationship between Michael and her best friend Marlene (Julianne Moore) might have turned into an affair. Peyton manipulates every situation to make Claire feel like she’s going crazy.

The film begins with the handyman riding his bike in a hoodie. He stops by the Bartell house and knocks on the door. Nobody hears the knock or answers the door. He walks around the house and looks through the windows. When Claire sees him she screams and panics. Suburban white woman screams as an unknown black man stands outside her house.

But he was expected. Claire had requested a handyman be sent to her house. The film doesn’t directly comment on her inherent racism in this scene, but it is certainly there. When we see him riding that bike the music is peaceful. When he approaches the house and looks through the windows the film doesn’t make it menacing. So that when she screams and when he is recognized as a kind person, it is surprising. It is just another way the film lightly subverts our expectations of the genre.

It is still a white, suburban family being, um, rocked by a beautiful, young woman, so it doesn’t stray too far from the formula, but I appreciate that it was at least trying to do something different.

the bedroom window poster

After a work party, Terry (Steve Guttenberg) talks Sylvia (Isabelle Hubbert), his boss’ wife, into going back to his apartment and to bed with him. After the lovemaking, Terry goes to the bathroom. Sylvia hears a noise outside. She sees a man attacking a woman. She struggles with opening the window and the noise startles the man, and he runs away.

She thinks about calling the cops to tell them what she’s seen, but she fears this will lead to her husband finding out about the affair. The next day they learn a different woman was raped and murdered not far from the apartment, just 30 minutes after the attack Sylvia witnessed.

Still fearing retribution from the husband, but now believing the man Sylvia saw was likely the man who murdered the other woman, Terry decides to call the police and pretend he was the witness. Sylvia gives him the details of the attacker and at first, the conversation with the police goes well.

Naturally, there are complications.

In order to arrest the killer they need more information from Terry, but he can’t give that information because he really didn’t witness anything. More murders occur and Terry’s desire to tell the real truth increases, but Sylvia remains unwilling to come forward. Terry does some investigating on his own and meets Denise (Elizabeth McGovern) the girl who was attacked outside his apartment.

The Bedroom Window follows some standard Noir tropes but with interesting modifications. Steve Guttenberg is either a brilliant choice for the lead actor, or an awful one. I know him from the Police Academy movies and Three Men and a Baby. He has such a goofy, gentle presence it is difficult to believe he could seduce someone like Isabelle Hubbert. Though it is quite easy to believe he could be the typical noir patsy.

But that’s just it, Sylvia isn’t the typical femme fatale. She isn’t involved in the murders. She doesn’t set Terry up. She simply witnessed one assault. She does become a cold fish the more Terry tries to convince her to come forward as a witness, but before that, she seems like a lady in a loveless marriage looking for some fun.

Denise is an interesting monkey wrench in the proceedings as well. She becomes a secondary love interest to Terry, but she’s also deep into the mix of trying to figure out who the killer is. She seems more out of a detective story – the plucky kid who helps the detective – than a film noir. She’s also the only actor who even attempts a Baltimore accent which is kind of distracting.

Terry makes idiotic decision after idiotic decision which digs him deeper into trouble. The film never quite makes me believe he’s as dumb as his actions make him out to be which caused me to yell at the TV more than once.

Director Curtis Hanson, who would later make LA Confidential one of the all-time great neo-noirs, keeps things moving briskly and with great style. The Bedroom Window isn’t great, but it is well worth watching if you dig neo-noirs with a slice of erotic thrillers thrown in.