Fritz Lang's The Woman in the Window is a taut little noir, dripping with shadows, suspense, and that creeping sense of doom. It feels like a dry run for Scarlet Street, which came a year later with the same leads—Joan Bennett and Edward G. Robinson—but Window more than holds its own. The story's a classic noir spiral: a meek man meets a mysterious woman and finds himself caught in a web of murder and regret. It's lean, moody, and morally murky. It's not quite as layered as Scarlet, but still a sharp, stylish thriller with real bite.
Fritz Lang never became the director of prestige that Alfred Hitchcock was in Hollywood and only ever attracted low to medium budgets. But film noir never much thrived in lavish productions. Better to get a poetic script and some tough/sexy actors, and then hide the sets in the shadows.
Edward G. Robinson is a middle aged Professor of Psychology who finds himself at the whim of a young, desirable artist's model (Joan Bennett). When she kills her possessive sugar daddy, she is blackmailed by Dan Duryea's swaggering heavy. After the Prof disposes of the body, he feels the breath of the law on the back of his neck. It's a cute story, if you overlook the final twist!
Joan Bennett was typecast in this period as the femme fatale, the sexy agent of entrapment. She's very still, and languid, her voice low and seductive- in contrast to the fast talking dames of the thirties. She wouldn't be released from these roles until the fifties when she began to be cast as suburban housewives. She is one of the first ladies of noir.
The leads are all great. Duryea is the kind of dangerous, greedy lout that often turns up in film noir, ending any hope of the hero steering back onto the highway. It has the gloomy, fretful atmosphere typical of the genre. It isn't Lang's very best work, but it is very entertaining and a big enough hit for the three stars and the director to re-assemble the following year for Scarlet Street.