Look In Any Window (1961)

87 mins | Melodrama | 1961

Director:

William Alland

Editor:

Harold Gordon

Production Designer:

Hilyard Brown

Production Company:

New Films Co.
Full page view
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
W. Wallace Kelley
Cam
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
COSTUMES
Swim suits
MUSIC
SOUND
Music ed
MAKEUP
Hairdresser
PRODUCTION MISC
In charge of prod
Scr supv
SOURCES
SONGS
"Look in Any Window," words and music by Paul Anka, sung by Paul Anka.
PERFORMED BY
SONGWRITER/COMPOSER
DETAILS
Premiere Information:
New York opening: 21 Mar: Jan 1961
Production Date:

Copyright Info
Claimant
Date
Copyright Number
New Films Co.
16 January 1961
LP18008
Duration(in mins):
87
Country:
United States
SYNOPSIS

Feeling unwanted and unloved by his flirtatious mother and his weak, alcoholic father, shy teenager Craig Fowler becomes a masked prowler, finding vicarious pleasure in spying upon the private activities of neighbors in a modern suburban area. Though he is caught in the act of spying upon his next-door neighbors, the unhappily married Lowells, his identity remains unknown, and the police begin to take an active interest in the case. Following a quarrel, Craig's mother, Jackie, storms out of the house and goes off with the promiscuous Gareth Lowell. Craig then begins drinking, visits the Lowell daughter, Eileen, and attempts to seduce her. In resisting, she trips and falls through a glass-topped table, and is knocked unconscious. Panic-stricken, Craig flees from the scene. Later, at a pool party, Jay Fowler catches his wife making love to Gareth, and the resulting fight ends abruptly when the masked prowler is spotted on a patio roof. Craig attempts to get away, but he is caught by a plainclothesman. The incident has a sobering effect upon his parents, who resolve to provide a healthier home life for their ...

More Less

Feeling unwanted and unloved by his flirtatious mother and his weak, alcoholic father, shy teenager Craig Fowler becomes a masked prowler, finding vicarious pleasure in spying upon the private activities of neighbors in a modern suburban area. Though he is caught in the act of spying upon his next-door neighbors, the unhappily married Lowells, his identity remains unknown, and the police begin to take an active interest in the case. Following a quarrel, Craig's mother, Jackie, storms out of the house and goes off with the promiscuous Gareth Lowell. Craig then begins drinking, visits the Lowell daughter, Eileen, and attempts to seduce her. In resisting, she trips and falls through a glass-topped table, and is knocked unconscious. Panic-stricken, Craig flees from the scene. Later, at a pool party, Jay Fowler catches his wife making love to Gareth, and the resulting fight ends abruptly when the masked prowler is spotted on a patio roof. Craig attempts to get away, but he is caught by a plainclothesman. The incident has a sobering effect upon his parents, who resolve to provide a healthier home life for their son.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

The Long Haul

Onscreen credits contain the following written acknowlegment: "The producer gratefully acknowleges the assistance and facilities made availabe to the producer by Leyland Motors Limited." Tom Morahan's onscreen credit reads ... >>

The Terminator

A full-page advertisement in the 24 Feb 1984 DV announced the recent start of principal photography, referring to the film by its working title, Terminator. ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.