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

LOVE HAS MANY FACES (1965)

Title: LOVE HAS MANY FACES

Year of Release: 1965

Director: Alexander Singer

Genre: Drama, Romance

Synopsis: When a man is found washed up on the beach in Acapulco, a wealthy American woman with prior connections to him is suspected of his death.

Within a film history context: Movies set in Acapulco were not a common sight on cinema screens, with little more than a handful in number. Jacques Tourneur's film noir OUT OF THE PAST (1947), had an important meeting between a private investigator, and a mystery woman in Acapulco in this classic movie. Another film noir, THE LADY FROM SHANGHAI (1947), directed by Orson Welles, in which a sailor becomes entangled with a femme fatale, featured a number of sequences set in Acapulco. Edward L. Cahn's SILENT FEAR (1956), was predominantly set in Acapulco, and told the romance of a miner and a nightclub singer, with many ups and downs along the way in their relationship. Film noir territory, and Acapulco once again meshed in A WOMAN'S DEVOTION (1957), directed by Paul Henreid. A couple's honeymoon in Acapulco is interrupted when the husband is suspected of the murders of two women. In an entirely contrary mode was Richard Thorpe's FUN IN ACAPULCO (1963). In this Elvis Presley vehicle, a young man has a number of adventures, and finds romance, with music also featured. LOVE HAS MANY FACES was entirely set in Acapulco, and this is where it diverted from some of the other examples.

LOVE HAS MANY FACES, as with SILENT FEAR, A WOMAN'S DEVOTION, and FUN IN ACAPULCO, had Acapulco as its main locale where all the action transpired. It was a place of relaxation and leisure in LOVE HAS MANY FACES, with a minor element of peril included. This was unlike OUT OF THE PAST and THE LADY FROM SHANGHAI, where a small part of the narrative occurred there. These two films were also of a suspense orientation, whereas LOVE HAS MANY FACES had a minor component in this respect. The death of a gigolo, found on the beach, was just a small segment of the movie. All the films had romantic leanings, with OUT OF THE PAST and THE LADY FROM SHANGHAI both showcasing dangerous temptresses with more to them than meets the eye. The women in LOVE HAS MANY FACES, though, were controlled by passion and their devotion to men and love, rather than criminal exploits. LOVE HAS MANY FACES was geared more toward a female audience than the others, in that strong female characters, and male-female relationships were placed under the microscope. 

In LOVE HAS MANY FACES, contrasts were drawn between three very different women, and how they looked at life in their individual manners. The male characters, on the other hand, were the object of the female gaze in this film, as were the women with their garments, but the men were highly sexualized. The men were handsome, tanned, muscular, and, in one instance, given to wearing swimwear on a regular basis. This was worlds away from how male characters were portrayed in OUT OF THE PAST, THE LADY FROM SHANGHAI, and SILENT FEAR. A WOMAN'S DEVOTION was possibly closest to LOVE HAS MANY FACES in the depiction of its male protagonist, appearing shirtless with regularity. The female character in this, though, was unlike Kit in LOVE HAS MANY FACES, her attire demurer than the showy, expensive wardrobe of Kit. An interesting look at life in Acapulco, LOVE HAS MANY FACES provides an agreeable, if plush, perspective on this.

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 to viewers to sympathize and understand, if not necessarily to agree with. Alexander Singer was particularly adept at showcasing actresses in strong roles. His first film, A COLD WIND IN AUGUST (1961), was the character study of a stripper who falls in love with a seventeen-year-old young man. Lola Albright in the lead part bolstered the movie, which had its leaden moments. Next came PSYCHE 59 (1964), 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. This time, Patricia Neal was a standout as the pained woman. 

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 nuances, unfortunately, it has all but disappeared from view. LOVE HAS MANY FACES was Alexander Singer's third effort, and a satisfactory, but unspectacular picture. 

In the case of LOVE HAS MANY FACES, Alexander Singer has made a diverting, slick motion picture. Taking as its focus a wealthy American woman, Kit Jordan, living the high life in Acapulco with her husband, and the various interactions she has with others in this resort city, it is a glossy entertainment that passes the time well. The movie has a partiality to portraying Acapulco as a playground of the rich, complete with their hangers-on, which is pleasing to the eye. It affords views of beaches, beautiful vistas, attractive people, and their melodramatic lives, something akin to a combination of a travelogue, and the machinations in a juicy bestselling novel. While the movie is to be commended for offering eye candy and easy-going intrigues in this manner, when examined closer, it starves the viewer in other areas intellectually where it should have been much stronger.

The movie has a habit of introducing plot threads, but their follow up is never fully developed. LOVE HAS MANY FACES has a storyline which initiates the action, being that a gigolo is found dead washed up on the beach, but the delivery of the mystery behind this is anything but compelling. Kit Jordan is suspected of this crime, but nothing much comes of this. It appeared she had a connection to him, but this is dumbed down in the film. This plotline facilitates, though, the entrance of the man's girlfriend who comes to see what happened to her boyfriend. She stays for a spell, strikes up a rapport with Kit's husband Pete but, leaves when he elects to stay with his wife than be with her. The fact that one never sees flashbacks of the dead man, which would have explained much about him, renders the story stagnant, and unemotional. Other parts of the film also needed more attention than they received.

Backstory for the two beach boys Hank and Chuck is, unfortunately, largely non-existent. Both have a presence in the film, but further insight into their lives would have been helpful. Of the two older ladies who seek male companionship in Acapulco, one is severely underdefined. Margo has her snappy retorts and attitude, but Irene hardly says a word. A nice contrast could have been set up between the two ladies, and what led Irene to come to Acapulco for male company, but this is never clarified. These examples, though, appear to be a tendency on the film's part of the lackadaisical lives of the characters intruding on the writing of the movie. It is one thing to go with the flow, but not having a sturdier story does make the picture come unstuck. A watchable but lacking movie, LOVE HAS MANY FACES is a passable picture, but not the best film from Alexander Singer.

Acting: LOVE HAS MANY FACES contains a number of interesting acting performances from its cast. As lead character Kit Jordan, unfortunately, Lana Turner is not in one of her best parts. While she does a serviceable job as Kit, the writing of the character lets her down considerably. In addition, the insistence of the film on presenting various costume changes for the actress does her a disservice, making her acting take a back seat to the visual frou frou. In complete contrast, Cliff Robertson, as Kit's husband Pete, radiates integrity, and authority, as her loyal spouse. An actor whose commanding presence brought conviction to many movies, here does likewise with the sturdy, wary Pete. Kit's long-ago lover Hank comes alive with the inimitable Hugh O'Brian. Despite appearing in the film bare-chested, and swimsuit clad for much of its running time, Mr O'Brian gives his gigolo a humor, and realism, that make him a charming figure. 

As one of the two American women seeking company in sunny Acapulco, Ruth Roman's Margot is another distinctive portrayal. With her husky voice, and seen it all before demeanor, she makes the role hers, and feelings understandable. Virginia Grey, as Margot's friend Irene, though, is not as lucky. The actress has been completely wasted in her tiny role, and it would have been interesting to hear another perspective on loneliness from her character. The part of Carol Lambert, girlfriend of the dead man, is comfortably inhabited by Stefanie Powers. With her clear diction and agreeable personality, Miss Powers' Carol clashes dynamically with Lana Turner's Kit in the movie. The final acting of note was by Ron Husmann as Chuck, friend, and fellow beach boy to Hank. Although his appearances are limited in the movie, Mr Husmann has a quietly arresting aura, and whose seething anger sears Hank in Chuck's final scenes.

Soundtrack: The soundtrack for LOVE HAS MANY FACES supports the visuals in an unobtrusive, yet telling way. As always, David Raksin provides a reliable score which ably underlines scenes without being over the top. It is subtle during the quieter scenes of character interaction, and suitably punctuates the more dramatic sequences with flair. Both the opening, and closing credits feature the song 'Love Has Many Faces' performed by Nancy Davis, which is serviceable, but not particularly spectacular. Its main purpose is a musical comment on the tangled love lives of the protagonists which it delivers in a sound manner.

Mise-en-scene: LOVE HAS MANY FACES offers a credible onscreen experience for viewers. Joseph Ruttenberg's Eastmancolor cinematography captures Acapulco, and Mexico City, in a naturalistic way, allowing the eyes to graze the scenery in a relaxed manner. Mr Ruttenberg is adept at showing differences between the sunny Acapulco and its environs, and the darker tones of Kit and Pete Jordan's home, in particular, their bedroom. The living room of Kit and Pete appears slightly artificial, though, with the garden at the top of the room extremely faux. Costuming by Edith Head is stylish, and suited to the environments in which the characters find themselves. The one element which stands out for the wrong reason are some of the outfits worn by Lana Turner in the movie. Several of these are elegant, but others are flashy, and make some of Miss Turner's dramatic scenes risible to witness. The intention may have been to be striking, but it is distracting at times, and unnecessary in retrospect.

Notable Acting Performances: Cliff Robertson, Hugh O'Brian, Ruth Roman, Stefanie Powers, Ron Husmann.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

Link: IMDB Page

INTERVIEW WITH FILM EDITOR GEORGE FOLSEY JR.

George Folsey Jr.

Today I have the happy pleasure of welcoming a very special guest, film editor George Folsey Jr., to CINEMATIC REVELATIONS for an interview. George has edited a great many movies over the years, some of these including HAMMER, BLACK CAESAR, GLASS HOUSES [my review of the film can be found here] and J.D.’s REVENGE, considered one of the best Blaxploitation genre films, the high grossing NATIONAL LAMPOON’S ANIMAL HOUSE, international box office success COMING TO AMERICA, and CHEAPER BY THE DOZEN, one of Steve Martin’s biggest hits. 

George Folsey Jr., John Landis in Rick Baker's monster makeup, and George J. Folsey 
on location shooting John Landis' first movie SCHLOCK

George is the son of famed cinematographer George J. Folsey, who photographed such classics as ANIMAL CRACKERS, THE GREAT ZIEGFELD with William Powell and Myrna Loy, MEET ME IN ST. LOUIS and THE HARVEY GIRLS, both Judy Garland hits, Spencer Tracy and Katharine Hepburn vehicle ADAM’S RIB, SEVEN BRIDES FOR SEVEN BROTHERS, for which George Sr. received one of his Academy Award nominations, and setting the record for Radio City box office for decades, STATE OF THE UNION, and TILL THE CLOUDS ROLL BY, a popular all-star musical, again with Judy Garland. 

George Folsey Jr. with son Ryan Folsey

George Jr.’s son Ryan is also an editor, with successful horror comedy CABIN FEVER, hit Kristen Bell comedy WHEN IN ROME, the animated ALVIN AND THE CHIPMUNKS: THE ROAD CHIP, and SCOOB some of his editing credits.

George also had a notable collaboration with John Landis, editing solo, or co-editing several of his movies including horror film SCHLOCK, THE BLUES BROTHERS, another enormous hit, and COMING TO AMERICA. He also produced nine of Mr Landis’ films such as comedies THREE AMIGOS, TRADING PLACES, both financial successes, and black comedy INTO THE NIGHT. One of their most famous teamings was for the spectacularly successful Michael Jackson ‘Thriller’ music video directed by John Landis, which George co-edited with Malcolm Campbell. In this post, George will be discussing his multiple roles in the making of GLASS HOUSES, which marked his debut in films, and providing other information about this fascinating, but little-seen motion picture. Welcome to CINEMATIC REVELATIONS George!

George Folsey Jr.

Athan: How did the concept of GLASS HOUSES eventuate, and how did you become involved in this project?

George: My dad was teaching at AFI and I think he met Alex Singer there. They had never worked together. Alex discussed a script that he and his wife, Judy had written and they came to me. Alex thought we could make the movie cheaply so we used our contacts to put together a crew of young upcoming guys and girls and got the IATSE to let us all work non Union. My dad put up some money and I raised the rest of the $100K budget from friends at our Golf Club. 
 

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Athan: In GLASS HOUSES you not only were responsible for the editing but also, was the film’s producer, and camera operator, shooting one-quarter of the movie handheld with the Éclair camera. How did it feel at the time taking on so many duties for this production?

George: I went to Pomona College and graduated with a degree in English Lit. There was no Film School at Pomona so GLASS HOUSES was my Film School project. I had worked at KABC-TV cutting the news and documentaries but never a feature. I did spend 6 months at MGM working as an assistant editor to Henry Berman, a famous editor who had worked with my dad. Together we worked on GRAND PRIX and Henry won an Academy Award for his work on it. He taught me his editing system which I've used throughout my career. We decided to shoot with an Eclair 35mm camera in a blimp for the dialogue scenes. My dad got a Worrell gear head from MGM and I would practice by having my wife, Belinda walk around our living room and I would try to follow her. I got better with practice. I did shoot about 25% of the movie hand held. The Eclair, without the blimp, was great for this. I definitely felt the pressure watching the money and it was a long shoot, 10 weeks. We ran the dailies silent at MGM as it was too hard to sync them each day. I learned a lot about my operating as there was no sound to distract from my camera work.
 

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Athan: What did you most enjoy about the experience of making GLASS HOUSES?

George: The best part of making the movie was getting to work with my dad who was very helpful. We shot another movie, BONE, in the same fashion.

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Athan: Which for you were the most demanding, but emotionally satisfying moments of filming GLASS HOUSES?

George: We shot maybe 50% of the movie in the house my wife and I were renting. We had a 2 month old daughter and Jennifer O'Neill was staying with us as we had no money for hotels. She was a pleasure and very helpful. I liked it when my dad said I'd done a good job after running the dailies.
 

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Athan: I was always struck by Ann Summers, who played Adele in the picture, Victor’s wife and Kim’s mother, and the moving nature of her performance. There is very little written about her, and she remains to this day an intriguing, mysterious presence. What was the experience of working with Miss Summers in GLASS HOUSES?

George: As a Producer, you couldn't ask for a better cast member than Ann Summers! She completely got the part and was such a pleasure. We became close friends and I so saddened by her early death in 1974.
 

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Athan: The casting of GLASS HOUSES was first-rate, especially with the afore-mentioned Ann Summers, Deirdre Lenihan, Clarke Gordon, and Mary Carver, for me, being the most striking choices. Was it a difficult process to cast for this movie, or did certain performers make their presence felt from the start?

George: Most of the casting was done in New York by Singer and Joel Steinberger. Deirdre Lenihan and Clarke Gordon clearly stood out.
 

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Athan: The editing in this film is of a superlative nature, with special mention being for the final few minutes of GLASS HOUSES featuring Deirdre Lenihan and Bernard Barrow. In this short space of time, a complicated montage of shots was assembled, whereby the viewer was thrown off balance by space and time, and exactly what was taking place, and which character’s point of view is being expressed. How did it feel editing these intricately detailed sequences?

George: I haven't seen the final sequence in many years but I made a pass at it and Alex and I refined it. He was a pro and I had little trouble in editing the movie as I was able to use the Henry Berman system to great advantage.
 

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Athan: GLASS HOUSES was shot in many real-life locations, such as the Beverly Hills home in which you and your family lived in at that time, and the Topanga Center for Human Awareness. What were some of the logistical challenges posed by shooting the film in this manner?

George: We couldn't afford to shoot anything on a sound stage so everything was shot in practical locations. I remember shooting Bernie Barrow and Jennifer [O'Neill] driving down Melrose Ave. I was strapped in and surprised to see a Policeman in my finder at the end of the shot. Got cited...
 

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Athan: Have you kept in contact with any cast members and crew from GLASS HOUSES?

George: Sidney Baldwin who shot stills on the production worked on a couple of movies I produced with Landis. Jason Starkes who worked as a grip wrote JD'S REVENGE which I edited. Eric Roth who wrote FORREST GUMP, was our Lighting Gaffer. Esperanza Vasquez was our script girl. She and her husband were producers on a movie I edited in the 70's. It was such a pleasure to work with all these young people many of whom went on to successful careers in the Industry.
 

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Athan: A cast member of the movie, T.J. Halligan, was credited as passing away the same year GLASS HOUSES was shot, being in 1970. Could you enlighten us on what effect this event had on the making of the movie?

George: We were all sad to hear of the passing of T.J. Halligan but it didn't have an effect on the movie. Actually I think GLASS HOUSES was filmed in 1969.
 

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Athan: GLASS HOUSES has unfortunately largely faded into obscurity, and has never been released on either VHS or DVD. What do you think is the reason for this?

George: Considering we sold the movie to Columbia its hard to understand why there are no 35mm prints, no VHS or DVDs and where is the cut negative? I've spoken to a close friend at Columbia to try to find some element to make something but to no avail. It isn't a great movie but it's well made. Not sexy enough to qualify as an "Art" film and too sophisticated for popular release. Also, there was no Star in the cast to help the Box Office.
 

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Athan: Do you have any upcoming projects of which you would like to tell readers?

George: I'm producing a Faith/Based movie called GOD'S GONE FISHING which I hope to shoot in the late summer of 2021.
 

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Thank you so much today for your time George, and for the valuable insights you have provided into film editing, GLASS HOUSES, film editing, and production. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Thank You Athan for letting me be a part of CINEMATIC REVELATIONS!!!
 

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George Folsey Jr. links

+George Folsey Jr. IMDb Page

+GLASS HOUSES IMDb page

GLASS HOUSES (1972)

Title: GLASS HOUSES

Year of Release: 1972

Director: Alexander Singer

Genre: Drama, Comedy

Synopsis: Portrait of a family in meltdown; Victor is having an affair with a young woman, nineteen year old daughter Kim is involved with her father's business associate Ted, and Victor's wife and Kim's mother, Adele, holds civic meetings at home, carrying on a secret relationship with the neighbourhood novelist.

Within a film history context: With the breakdown of US film censorship in the late 1960s and the introduction of a self-regulatory censorship system, the MPAA, cinematic films began to showcase more explicit themes in terms of sexual content, violence and language which had heretofore been banned. The inception of the R and X ratings in the US was a watershed for film censorship, freeing directors and writers to explore content in a much freer manner than beforehand. BOB & CAROL & TED & ALICE (1969), MIDNIGHT COWBOY (1969), and EASY RIDER (1969) were all pivotal films at the time for their frank treatment of sex and related themes. GLASS HOUSES arrived several years after these particular movies, and was also candid in how it handled its content.

GLASS HOUSES highlighted a dysfunctional family, reviewing its dynamics, and also looked at incest pertaining to a father-daughter relationship. Dysfunctional families have been explored over the years in cinema in various capacities. Films such as A SUMMER PLACE (1959) focused upon two families, specifically highlighting mother-daughter, father-daughter, and son-mother relationships, morality, and fractured families. Forward twenty years and Robert Redford's excellent ORDINARY PEOPLE (1980) explored family grief at the loss of a child, and how the surviving sibling was viewed by his parents. GLASS HOUSES differs from these in that it examines an affluent couple whose marriage has gone stale, and how the daughter harbours a secret, incestuous love for her father.

The incest theme is handled in a highly tense, provocative but understated manner, without showing anything unseemly occurring between the two characters. The editing in the final scenes leaves the door open for the viewer to imagine what might, or might not happen to the characters, which elevates the film into an artistic domain, and away from exploitation territory. It looks forward to films such as THE REINCARNATION OF PETER PROUD (1975) a supernatural thriller also with an incest theme, in that a man falls in love with his daughter after being reincarnated in another man's body. GLASS HOUSES does not go as far as this film, but there are inferences that the father in the movie may subconsciously desire his daughter, in light of his affair with a young woman his daughter's age.

Overview: Alexander Singer directed only five feature films in his career, the majority of these centred upon their female characters, the exception being western CAPTAIN APACHE (1971). Mr Singer presented their flaws, foibles and strengths, warts and all to viewers to sympathize and understand, if not necessarily to agree with. His first film A COLD WIND IN AUGUST (1961), was the character study of a stripper who falls in love with a seventeen year old young man. LOVE HAS MANY FACES (1965) was a melodrama about a woman caught in a difficult situation, adultery, and intrigue in Acapulco. 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.

GLASS HOUSES focused upon a family consisting of father Victor, his wife Adele, and their nineteen year old daughter Kim. Mr Singer has successfully made a film which, despite a short running time, delineates the characters and their situation for the viewer with great clarity. Like his other films, GLASS HOUSES does devote a significant amount of screen time to its female characters, but also does likewise with its male protagonists. The film is the study of a Southern Californian family, and begins with the husband and father's affair with a young woman. Taking place over the span of approximately two days, the action shows Victor coming home after a late night tryst, and his cooling relationship with wife Adele the next morning, witnessed by him kissing her on the cheek rather than on the lips. Their daughter, Kim, watched her father return home from his clandestine affair the night before, and countless times prior, and makes sure her mother knows what is going on the next day. The most intense scenes in the film involve Kim, who knows exactly how to push both her mother, and her father's buttons. The mother-daughter/father-daughter relationships are presented by the director as alternately tenuous, tragic, but very relatable.

GLASS HOUSES has elements of drama, comedy and suspense, the director skilfully weaving these together without the film ever being uneven. A great example is the intercutting of the civic meeting with Kim, her lover Ted, Victor and mistress Jean at the 'Institute of Encounter Awareness', a health and wellness retreat. The relative calm of the retreat, with people relaxing or getting their feelings out in the open in therapy sessions is contrasted with the raucous civic meeting, where a variety of people from all walks of life voice their concerns about community issues and the environment, morality, and people's quality of life. The film is at its peak in these moments, juggling high drama with comedy, and more poignant moments.

There have been comparisons made with Paul Mazursky's earlier BOB AND CAROL AND TED AND ALICE (1969) but, for me, GLASS HOUSES is the superior of the two films. While the other film was largely comic in scope and had good performances, its tone was rather modish, and the characters seemed to like to punish each other, downgrading their marriages just for the sake of being in fashion. GLASS HOUSES differed as it presented a real life situation, being a couple over forty whose life has become all work and no passion, with their liberated, voracious daughter not helping matters in any way. GLASS HOUSES also positions its characters within the world of the late 1960s/early 1970s, touching upon influences such as the hippie generation, feminism, women's place in the home and public sphere, the changing role of men in society as women's roles evolved, and the generation gap. It also explored most notably, and in a more explicit manner, younger women/older men relationships, something that had been touched on in cinema from time to time, with CASS TIMBERLANE (1947) and SABRINA (1954) famous examples, with LOLITA (1961) a scandalous variation on the theme. GLASS HOUSES, in essence, was much more than some attractive people dabbling in recreational drugs and daring each other to commit illicit acts, which is how BOB AND CAROL AND TED AND ALICE sometimes appeared.

Acting: This is a movie where the acting is highly skilled by the entire cast, both main actors and supporting cast. Ann Summers beautifully portrays Adele as the hapless, unappreciated mother and wife, her reactions to situations touching but also, priceless. One of the best segments of the film is seeing Adele, who was sad and unwanted in the first half, come alive during the civic meeting scenes, mixing with the people present, and creating a positive atmosphere. Apart from this, her scenes with novelist Les Turner, played by Clarke Gordon, also have a magical, comical but sad aura all rolled into one. Clarke Gordon makes a memorable mark in the film with his pipe-smoking, irreverent novelist. With much of his dialogue delivered with a pipe in his mouth, Mr Gordon brought a style and passion that added flair to the film. His chemistry with Ann Summers effectively was akin to the blossoming of a withered flower in the spring after a very cold winter. In addition to these actors, two other thespians were notable in the film for their contributions.

Deirdre Lenihan handles a difficult role as Kim with aplomb, alternating between playing daddy's little girl, a hellion making her mother feel insecure and unworthy, a sex kitten with Ted, with shades of vulnerability throughout. The success of the film largely rests on her shoulders, and the effective portrayal of the mood changes and tendencies the character exhibits. Apart from these three actors another performer made an indelible impression in GLASS HOUSES. In a small role in the civic meeting scene, the bravura Mary Carver brought her impassioned character to vivid life. Miss Carver's role is one of the most startling cameos of anger, confusion and righteousness ever captured on film.

Soundtrack: The brilliant instrumental theme music composed by David Raksin perfectly complements the content, adding suspense particularly during the opening credits, and the final scenes. Variations of the main theme are utilized throughout the film which emphasize the tone of the scenes depending upon what is happening onscreen.

Mise-en-scene: The film was notable for its use of real locations which bring the narrative world to life for the spectator. The film captures the sights, sounds and feel of Southern California, with a real home used as the family base of Victor, Adele, and Kim. The use of the kitchen, bedrooms but in particular, the living room, with its spiral staircase, add validity and realism to the narrative world. Other locations such as Victor and Ted's office with its wide clear windows, offering a view of the city, Ted's dual level seaside home, the bungalow of Kim's friend Linda, with its soft beige interior and colourful ornaments all work to give the characters a life beyond just surface appearances. Outdoor location filming is also excellent, adding crispness to the film. The film showcases sights such as Victor's trek to work across the freeway, his stops at the gas station for petrol, and the courtyard of the health retreat, to name a few, which could not be replicated in a studio.

Award-worthy performances in my opinion: Ann Summers, Deirdre Lenihan, Mary Carver, Clarke Gordon.

Suitability for young viewers: No. Adult themes, sexual themes and language, and female nudity.

Overall Grade: A

Link: IMDB Page

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