COOL BREEZE (1972)

Title: COOL BREEZE

Year of Release: 1972

Director: Barry Pollack

Genre: Blaxploitation, Drama

Synopsis: A group of people gather to pull off a bank heist in Los Angeles.

Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films continue to be made to the present day. There were many notable movies which explored the Blaxploitation theme in vastly different ways. One of the first with an African American actor in the lead was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE, that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre. 

Paul Bogart's HALLS OF ANGER (1970), was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, with the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and  with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be black after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought more films that explored the Blaxploitation angle in various ways.

One of the rarest of these was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective, and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels, and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated upon its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. COOL BREEZE was one of the most convoluted of the blaxploitation movies, despite featuring a hive of activity onscreen.

Although it showcased many African American actors and actresses in major roles, COOL BREEZE did not have the grace of a compelling storyline. It followed the release of a criminal from jail, and how he and his cohorts seek to establish a community bank with the funds of a jewel heist. Unlike examples such as THE BUS IS COMING and SWEET SWEETBACK'S BAADASSSSS SONG, which were telling examinations of crime and punishment, COOL BREEZE was too diffuse in this regard to make a proper impact. It was observant of people and events, as with PUTNEY SWOPE and COTTON COMES TO HARLEM, but lacked the humor which made those movies particularly notable. It rambled to a great degree, and had too many stories, and characters, which eroded the picture as a whole. There was an abundance of action in COOL BREEZE, but very little that was emotionally palpable.

Other facets of the movie are worthy of dissection in comparison to other Blaxploitation pictures. In terms of violence, it was surprisingly tame, although one scene did showcase a character's death which was shocking to witness. COOL BREEZE was also quite spare in its sexual themes in comparison to SWEET SWEETBACK'S BAADASSSSS SONG and SHAFT. There was a prolonged bed scene between the preacher and his wife in the movie, but the other scenes were shorter in duration. The scenes of female nudity also recalled notions of African American female sexuality present in COTTON COMES TO HARLEM and SWEET SWEETBACK'S BAADASSSSS SONG for their explicit attention to detail. COOL BREEZE had several female characters, and the contrast between these was interesting to witness. In particular, the differences between Bill Mercer's wife Emma, and his mistress, gave the movie a slight melancholic feel of reality which worked on a more subtle level. This adultery subplot was one of the film's best moments, giving it an air of reality among all the derring-do. An interesting but failed Blaxploitation movie, COOL BREEZE was a frustrating viewing experience.

Overview: Barry Pollack is an American director who has helmed three motion pictures in his career, making his debut in 1972, and, after a long break, his third movie in 2014. Between he changed careers and became an emergency room physician, contributing as a medical advisor to various prime time television shows in the 1980s. Mr Pollack's second film, THIS IS A HIJACK (1973), was a crime picture about a man in serious debt due to gambling, who aims to hijack a plane to collect a ransom, but life treats him to more than a few surprises in the process. Barry Pollack's most recent effort was IT'S NOT A DATE (2014). A black comedy of a romance between a man and a woman which sours, it featured Eric Roberts, and wife Eliza Roberts in roles. COOL BREEZE is Barry Pollack's most-recognized film, but not one of his best movies.

With COOL BREEZE, Barry Pollack has, unfortunately, made an uneven motion picture. The story of a jewel heist arranged by a number of people, seeking to fund a community bank, and various other activities, it is a watchable, but flawed motion picture. There are a number of reasons why this is so. One of the main issues with COOL BREEZE is that it has too many characters, and consequently, an abundance of stories taking place. It does not have a central core character with whom the audience can identify, and this precipitates in a vast number of people swimming around in the narrative. While multi-character narratives do exist and have been done well in other films, it is not the case here. There is just too much going on to conjure a real sense of excitement, or involvement, in COOL BREEZE. Events just occur in a pedestrian manner one after the other, without fanfare. If it concentrated on a character such as crime kingpin Bill Mercer, for example, with a more limited set of characters revolving around him, it would have worked better. Other liabilities are evident when watching COOL BREEZE.

The movie does have a realism and grittiness about it which is one of its best qualities. One could easily picture the action taking place as it does possess a vividness in its choice of locations and backgrounds. The attention to sexual matters, and female nudity, though, is one of the features which feels forced. One of the most risible sequences in COOL BREEZE is that of the preacher in bed with his wife, which reeks of exploitation. It takes up time unnecessarily when other stories were starving for attention. The best thread in the movie is that of gangster Bill Mercer, and his bitter, wheelchair-bound wife Emma. Her blasting of him, and his extramarital affair in a great scene, was an eye-opening moment, but they were not shown together enough. Likewise engrossing were Bill's scenes with his mistress, and his gunning down by the police. Unfortunately, his mistress' reaction to his killing is not shown, only her oral cries and whimpering which are effective, but insubstantial. The viewer is robbed by not seeing certain scenes which would have added considerably to the film. Meaty scenes are discarded to the advantage of less compelling material. An ambitious if unbalanced movie, COOL BREEZE is one of the most disappointing examples in the blaxploitation genre.

Acting: There are several excellent acting contributions in COOL BREEZE which stand out. As Bill Mercer, businessman with his finger in a number of pies, Raymond St. Jacques makes his gangster character human despite his illicit activities. An actor with a relaxed but world-weary aura, he makes Bill a compelling figure in the movie. Bill's wife Emma is made memorable by Royce Wallace. Miss Wallace is on fire as the wheelchair-bound Emma, chewing up her husband for his life and extra-marital affair, but ensuring that her pain is evident for all viewer to see. The other party in this merry go round, Lark, Bill's mistress, is given sympathetic treatment by Margaret Avery. Not one's typical cunning cinematic other woman, Miss Avery provides Lark with a passion and cuteness which is in contrast to Emma's cattiness, with Lark's love for the older Bill understandable. The final acting of note in COOL BREEZE is by John Lupton as Lieutenant Holster. In the limited time he has on screen, Mr Lupton scores as the handsome policeman with his dry, seen it all before attitude, which gives Bill's final scene a real-world perspective.

Soundtrack: Solomon Burke's insistent theme song, from the opening credits, highlights COOL BREEZE's action-packed orientation. Incidental music is played at various times in the movie, generally during the moments of crime and pandemonium but also, the quieter scenes such Lark massaging Bill's hands. The closing credits features 'Get Up and Do Something for Yourself' which is another funky tune that suitably sums up the action in COOL BREEZE.

Mise-en-scene: Due attention has been made in creating a convincing visual experience for viewers in COOL BREEZE. Cinematography by Andrew Davis captures the various indoor, and outdoor locations with finesse, keeping the color stock on an even, naturalistic keel, and never upstaging the action. This is not a film steeped in glamour, and the photography emphasizes this well. Art direction by Jack Fisk is impressive, creating a story world that looks and feels real, as if actual people utilize these places. Examples such as the diner, backrooms, church, and Bill Mercer's home, to name a few, ooze authenticity. These also make valid comments upon the socioeconomic positions of its many characters in a subtle, metaphoric manner.

Notable Acting Performances: Raymond St. Jacques, Royce Wallace, Margaret Avery, John Lupton.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, high-level violence.

Overall Grade: D

Link: IMDB Page

Trailer