A COLD WIND IN AUGUST (1961)

Title: A COLD WIND IN AUGUST

Year of Release: 1961

Director: Alexander Singer

Genre: Drama

Synopsis: A young man living in an apartment building falls for an older woman also residing there, unaware that she is a stripper.

Within a film history context: Movies which feature a female stripper as a main character have been quite common in film history. Many of the early depictions downplayed the stripper aspect, portraying characters as exotic dancers, in keeping with the film censorship of the times. One of the first to deal with the topic was Steve Sekely's MIRACLE ON MAIN STREET (1939). A stripper trapped in a bad marriage dabbles in crime with her husband, but meets another man, who helps change her life around. In contrast, LADY OF BURLESQUE (1943), directed by William Wellman, was of a suspense orientation. When members of a burlesque troupe begin to end up dead, one of its main performers investigates the murders of her fellow performers. Richard Fleischer's ARMORED CAR ROBBERY (1950), featured a scheming stripper involved in adultery, and deception in this film noir. CITY THAT NEVER SLEEPS (1953), directed by John Auer, was another film noir. A married policeman's life unravels in dramatic fashion, largely thanks to his stripper girlfriend, who has her finger in many pies. Joseph Newman's THE HUMAN JUNGLE (1954), also traded in suspense. The killing of a stripper is the impetus for an investigation into this crime, with another stripper involved in all the mayhem. 

Exploitation feature NAUGHTY NEW ORLEANS (1954), directed by Sidney Baldwin, had a stripper character as its core, and how her boyfriend discovers her true occupation in the most unexpected way. Victor Vicas' character study THE WAYWARD BUS (1957), included a stripper among the characters in this drama. SCREAMING MIMI (1958), directed by Gerd Oswald, was a florid tale of a stripper plunged into a world of madness and murder by a crazed psychopath. Another film with crime leanings was Samuel Fuller's THE CRIMSON KIMONO (1959). When a stripper is murdered in Los Angeles, this precipitates a chain of events in the lives of two detectives investigating this case, and how their love lives become entangled in the process. In contrast, EXPRESSO BONGO (1959), directed by Val Guest, had a stripper main character who was the girlfriend of the film's central protagonist, an unscrupulous talent agent seeking to exploit others at whim. A COLD WIND IN AUGUST was a prime example of a movie which had a stripper character as the central focus of the picture.

In movies such as CITY THAT NEVER SLEEPS and THE WAYWARD BUS, the stripper was a supporting character if anything. THE HUMAN JUNGLE and THE CRIMSON KIMONO, in comparison, were unique in that the respective stripper's death initiated the action in the narrative, being the search for her killer. On the other hand, the stripper characters in these were more a plot device than fully fleshed out characters. Some insight was provided into them, but it could be said that they were a gimmick to utilize, and dispose of for the sake of storytelling. A COLD WIND IN AUGUST had more in common with those examples where the stripper was front and center of the action, such as MIRACLE ON MAIN STREET, LADY OF BURLESQUE, NAUGHTY NEW ORLEANS, and SCREAMING MIMI. These movies dealt at length with their stripper protagonist, and the films themselves were consumed with their passions. Other facets of A COLD WIND IN AUGUST are interesting to note.

A COLD WIND IN AUGUST diverted from those entries where suspense was the order of the day, such as in SCREAMING MIMI. It concentrated upon the domestic view of the stripper's life, something slightly shared with NAUGHTY NEW ORLEANS. A COLD WIND IN AUGUST, though, could be seen as the most down-to-earth in terms of the treatment of its female stripper character. There was little, if any melodrama, or sensational events. Criminals and murderers did not have a place in the story. A COLD WIND IN AUGUST was the most character-driven of all the films about a stripper, and this sense of reality was one of its refreshing aspects. It traded in interpersonal relationships, self-respect, the world, and a woman's place in this. There was also a domestic setting which the other films, by and large, did not possess, thus, the character's private life was seen in greater detail. A full-blooded interpretation of a stripper, A COLD WIND IN AUGUST is the most down-to-earth of all the movies in this category.

Overview: Alexander Singer was an American director who helmed five feature films in his career. The majority of these centred upon their female characters, and their interactions with the opposite sex. Mr Singer presented their flaws, foibles and strengths, warts and all for viewers to sympathize and understand, if not necessarily to agree with. Alexander Singer was particularly adept at showcasing actresses in strong roles. Mr Singer's second movie, PSYCHE 59 (1964), was an elegant, suspenseful drama about a woman's loss of memory, and the impact this had on her life, and that of her sister and husband. Patricia Neal was a standout as the pained woman, with Samantha Eggar as her equally complex sister. Next came LOVE HAS MANY FACES (1965). A picture-perfect romance tale of a woman suspected of a crime in Acapulco, it was an attractive, if labored movie, notable mainly for the expensiveness of Lana Turner's wardrobe.

Mr Singer's fourth movie, and entirely different from his others, was CAPTAIN APACHE (1971). A western about an American Indian, and his involvement in political intrigue, was a change of pace, albeit not a successful one. Lee Van Kleef, Stuart Whitman, and Carroll Baker did their best to bring the film to life, but it was not enough to save it. Alexander Singer's final feature, GLASS HOUSES (1972), was the story of a California family on the brink of breakdown. Mr Singer's best film, an unjustly forgotten, and original movie with much emotional detail and nuance, unfortunately, has all but disappeared from view. As Alexander Singer's directorial debut, A COLD WIND IN AUGUST again concentrated upon a female protagonist, and was a passable first effort. 

With A COLD WIND IN AUGUST, Alexander Singer has made a watchable, if at times sluggish, movie. Taking as its focus a strong female character, in this case, a stripper, and exploring her personal, and professional lives in an intimate manner for the viewer, it is as its best in these moments. One essential facet raises the film considerably, though. It is careful to depict its protagonist as a fully three-dimensional person, and the stripper aspect is but a small part of the entire picture. There is no exploitation of the stripper angle, instead, concentrating upon how the woman in question, Iris, is trying to put the pieces of her life together, but how her former occupation comes back to haunt her. The movie shows just one scene in the burlesque house, and this is to its credit. A lesser filmmaker would have taken an opposite approach, and used the stripper segments for titillation purposes, While the film is to be applauded for this move, there are deficiencies in the picture which do hamper it as a whole.

Apart from its clearly defined central character, A COLD WIND IN AUGUST also does the same with its lead male Vito. To a degree this works in establishing a background for him, but many of the scenes with him are less than compelling. The segments where he is shown relating to other young people of his age group seem a little too much like filler. These do display his somewhat shifty attitudes, but the dramatic punch is not there. The movie carries weight in the most heated moments, such as the difficulties which arise in Vito and Iris' May-December romance, but these are separated in many instances by sequences of lesser impact. Presumably this was to balance the narrative overall in terms of peaks and valleys, but it thereby stagnates at these times. An uneven but sincere attempt at a study of a female stripper, A COLD WIND IN AUGUST is a satisfactory picture.

Acting: A COLD WIND IN AUGUST has several stimulating performances. In the lead role of Iris Bradford, Lola Albright is excellent. Miss Albright makes Iris fully understandable to the audience, with her thoroughly engaging presence the main reason to view this movie. As the object of her longing, Vito, Scott Marlowe complements Lola Albright well. Playing someone younger than his actual years, Mr Marlowe brings a boyish vigor, and charming awkwardness to the role which works. Vito's father Papa Pellegrino is made memorable by Joe De Santis. Mr De Santis' serene, humorous voice of reason meshes seamlessly with Scott Marlowe, and the two actors even have a slight resemblance which bodes well for their roles as father and son.

Soundtrack: Gerald Fried's music in A COLD WIND IN AUGUST adds an immediacy, and freshness, to scenes. The jazzy score complements the film's stronger, racier stretches, but also, quieter music works to emphasize the moments of reflection in the movie. 

Mise-en-scene: Care has been taken in creating a convincing onscreen world in A COLD WIND IN AUGUST. Floyd Crosby's black and white cinematography suits the material, giving it a starkness which works in light of the picture's treatment of desire and sexuality. In terms of interiors, Iris' apartment is attractive without seeming unrealistic, and offers a clear view of the action to spectators. The opening credits are innovative, comprising sketches which leave no doubt as to the occupation of its main character, and the content of the movie. Costuming by Norah Sharpe for Lola Albright offers an expansive view of its character, from formal attire, to more casual wear, in keeping with what is required in the scene. In addition, these clothing selections lend Iris a mystique which befits her role as a tigress. Ted Towey's wardrobe for male characters reflects their respective socioeconomic levels and mindsets, such as Vito's youthful choices in clothing. 

Notable Acting Performances: Lola Albright, Scott Marlowe, Joe De Santis.

Suitability for young viewers: No. Adult themes, low-level violence.

Overall Grade: C

Link: IMDB Page