Confessions of a Window Cleaner is a 1974 British sex comedy film, directed by Val Guest. Like the other films in the Confessions series; Confessions of a Pop Performer, Confessions of a Driving Instructor and Confessions from a Holiday Camp, it concerns the erotic adventures of Timothy Lea, based on the novels written under that name by Christopher Wood. Each film features Robin Askwith and Antony Booth. Plot The optimistic and inept Timothy Lea is freshly employed by his brother-in-law Sid as a window cleaner. With Sid an impending father to be, he looks to Timmy to fully 'satisfy' his customers, little realising that Timmy's accident prone ways often stretch to his sex life with his clients. Timmy bed hops from unsatisfied housewives to even a lesbian love tryst, all the while with his main eye on successful police officer, Elizabeth Radlett, who will have none of Timmy's sexual advances. He proposes as a result, much to his family's upset, unaware that Timmy's usual run of luck will affect the outcome. Cast Robin Askwith as Timothy Lea Tony Booth as Sidney Noggett Bill Maynard as Mr Lea Dandy Nichols as Mrs Lea Sheila White as Rosie Noggett Linda Hayden as Elizabeth Radlett John Le Mesurier as Inspector Radlett Richard Wattis as Carole's Father Joan Hickson as Mrs Radlett Melissa Stribling as Mrs Villiers Sam Kydd as 1st Removal Man Lionel Murton as Brenda's Landlord Katya Wyeth as Carole Sue Longhurst as Jacqui Brown Anita Graham as Ingrid Brian Hall as 2nd Removal Man Robert Longden as Apprentice Background The film is essentially an adaptation of a sex novel printed in paperback form. It was adapted for the screen in the 1970s, when the British film industry produced a large number of film adaptations of literary works. Sian Barber cites other examples of this trend: Jane Eyre (1970), Wuthering Heights, Black Beauty (1971), The Go-Between (1971), Kidnapped (1972), Treasure Island (1973), Gulliver's Travels (1977), The Thirty Nine Steps (1978), and The Riddle of the Sands (1979). Sian Barber points that adaptations of highbrow material (for example, works by Henrik Ibsen, Anton Chekhov, Iris Murdoch) and Middlebrow material (for example, works by William Shakespeare, Charles Dickens, Rudyard Kipling, D. H. Lawrence) were hardly unusual by the 1970s, but points to Confessions as an early adaptation of low brow popular literature. The series of source novels about Timmy Lea had benefited from a