Being a huge fan of Hitchcock's works and other suspense movies like "Along Came a Spider" and "Body Double", I found this movie pretty good. Good plot, well made, good acting. Plenty of surprises.The plot is one of those that motors along solely because nothing ever goes right. All of the twists are perfectly thought out and it makes for a delightfully messed up tale, but it all totally unrealistic because, come on, who is ever really that unlucky? Also there were a few twists that really were weak . . . the smoking gun in the court room was a joke. Most people who wear contact lenses also have glasses by their nightstand. That was not even hinted at as that would blow a hole through the plot so big you wouldn't be able to watch the movie on your 13" TV screen. And this must have been the era when the push for more gratuitous male nudity was on. There are lots of Hitchcockian touches: the premise itself from "Rear Window" and a stabbing scene at the ballet from "North by Northwest." Not a bad movie at all.Overall rating: 7 out of 10.

Baltimore architect Steve Guttenberg (as Terrance "Terry" Lambert) quickly hides a former bedmate's bra to prepare for a sexual visit from French blonde Isabelle Huppert (as Sylvia), who happens to be his boss' wife. The risky encounter is satisfying for both players. After copulating, Mr. Guttenberg shows off his buttocks while rising to visit the bathroom. Upon hearing a scream from outside the window, Ms. Huppert likewise shows her cheeky behind. The scream turns out to be barmaid Elizabeth McGovern (as Denise Connelly), assaulted by red-haired rapist-murderer Brad Greenquist (as Chris Henderson)...Through "The Bedroom Window", Huppert gets a good look at the perpetrator. But she cannot go to the police because husband Paul Shenar (as Collin Wentworth) would discover her affair with Guttenberg. To solve the problem and help catch the criminal, they decide Guttenberg will claim he saw the attack and gives the police Huppert's description. Of course, things don't go according to plan...This is an enjoyable homage to Alfred Hitchcock's "Rear Window" (1954) and others, with director Curtis Hanson, photographer Gilbert Taylor and Guttenberg contributing great flair. The segment visualizing Guttenberg's hearsay description of a murder could have been dropped, and the courtroom sequence reconsidered - but a few missteps do not detract from "The Bedroom Window" being a consistently engaging, entertaining and occasionally exciting thriller.******* The Bedroom Window (1/16/87) Curtis Hanson ~ Steve Guttenberg, Elizabeth McGovern, Isabelle Huppert, Brad Greenquist

Steve Guttenberg stars in this Hitchcockian thriller as a guy who intervenes for his lover, Isabelle Huppert, when she sees an assault on Elizabeth McGovern through their bedroom window. But she can't get involved because it would compromise her situation, as she's not supposed to be there with him, because she's already married. So, he says he saw it all, which only gets him in deeper and deeper as he tries to identify the assailant in a lineup based on her description. Then, he becomes a suspect, befriends Elizabeth, and tries to convince Isabelle it would be best for everyone concerned if they come clean. But she won't. Then Steve and Elizabeth try to trap the culprit.As a modern day thriller/suspense movie, it comes off better than you'd think it would, considering the lead of Guttenberg. He's no James Stewart or Cary Grant. but he does have a likable personality, if not a little bland. And, it's hard to see what a lady like Isabelle Huppert would have anything to do with Steve. Granted, he's somewhat easy on the eyes, especially with his shirt off. But they just seem like two totally different types. (By the way, for those interested in that sort of thing, the viewer gets to see Steve getting out of bed naked. I'm not sure, but I tend to think it's the only time in his films, even considering his Police Academy movies.) But the movie is quite suspenseful and it does get your blood going and it delivers some inventive, entertaining twists, the sort of movie that surprises you and you think later that was good. The only negative thing about it, is that you shouldn't think too much about the ending. Because you realize, realistically, the bad guy may be out of jail imminently, as they don't stay there for long anyway. What had he really done to be arrested for, at the end?? What had they proved?? All in all, I would recommend this and I think I would see this again, as Steve tries to stay one step ahead of the bad guy in this modern-day salute to Hitchcock.

Nice guy architect Terry Lambert (a solid and likable performance by Steve Guttenberg) has a steamy fling with his boss' sultry wife Sylvia Wentworth (finely played with classy sexiness by the ravishing Isabelle Huppert). Sylvia witnesses vicious predatory rapist/killer Carl Henderson (a genuinely creepy portrayal by Brad Greenquist, who conveys a sense of real chilling menace although he barely speaks throughout most of movie) attacking his latest victim while looking outside the window of Terry's apartment. Terry decides to cover for Sylvia and tells the police he saw the assault. After his testimony falls apart in court, Terry finds himself being tailed by the cops as a possible murder suspect. Writer/director Curtis Hanson expertly crafts a taut, absorbing, and stylish thriller which moves along at a steady pace, builds a good deal of suspense, and offers a pleasingly twisty narrative which becomes more increasingly complicated as it unfolds. This film further benefits from sturdy acting from a capable cast: the delightful Elizabeth McGovern adds considerable charm and panache as spunky and appealing near victim Denise, Paul Shenar is totally credible as smooth CEO Collin Wentworth, Carl Lumbly and Frederick Coffin are excellent as the two no-nonsense detectives on the case, and Wallace Shawn contributes a stand-out turn as Henderson's shrewd and smug lawyer. Popping up in nifty bits are Maury Chaykin as a lecherous pool player, Leon Rippy as a seedy bartender, and Mark Margolis as a jerk in a phone booth. Gil Taylor's glossy cinematography gives the picture an attractive slick look. The moody score by Michael Shrieve and Patrick Gleeson never becomes too overbearing or obtrusive. The last third with Perry and Denise setting up a trap for Henderson is quite tense and exciting. While not always plausible and full of plot contrivances, this movie nonetheless still sizes up as a very satisfying and entertaining item.