From Film Comment, September-October 1984. — J.R.
Rear Window, The Leopard Man [see first two photos above], Phantom Lady, The Window, The Bride Wore Black, Mississippi Mermaid. Considering that almost 30 features have been Cornell Woolrich adaptations, it seems a genuine anomaly that he should remain so shadowy a figure. He is as central to the thriller as Olaf Stapledon is to science fiction, and has been comparably eclipsed by a singularity that exceeds and surpasses some genre expectations while grievously falling short of certain others. Despite all the purple prose, tired rewrites, and preposterous plots that crop up in his fiction, perhaps no other writer handles suspense better, or gives it the same degree of obsessional intensity. More soft-boiled than hard-boiled in the depiction of his heroes and heroines, Woolrich nonetheless seems central to the overall pessimism of film noir in the violent contrasts of his moods and the dark tempers of his villains.
Webster’s New Collegiate gives three definitions of dreadful: “(1) (adjective) inspiring fear or awe, (2) (adjective) distressing, shocking; very distasteful, (3) (noun) a morbidly sensational story or periodical; as, a penny dreadful.” Woolrich assumes all these meanings and invents a few more of his own.… Read more »