Cool Breeze (1972)

Memorable, crazy movie

A Masterpiece!

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Upon being released from San Quentin the first thing "Sidney Lord Jones" (Thalmus Rasululu) does is to head to Los Angeles with a plan that involves stealing $3 million in diamonds from a large brokerage there in the city. To do this he borrows $50,000 from a crime boss named "Bill Mercer" (Raymond St. Jacques) in order to hire three men to assist him with the heist. Unfortunately, things don't go as planned as one of the men is shot during the burglary and another is also shot when Mercer tries to double-cross Sidney and his crew. And then things go downhill from there. Now rather than reveal any more I will just say that this was a fairly good "Blaxploitation film" which had an interesting plot (even if it was apparently borrowed from "The Asphalt Jungle" some 22 years earlier) and some decent acting as well. Likewise, having an attractive actress like Judy Pace (as Sidney's girlfriend "Obalese Eaton") certainly didn't hurt either. In any case, those who enjoy films of this nature may want to check this one out and I have rated it accordingly. Slightly above average.

Getting passed an excellent issue of a magazine called Cinema Retro from a family friend,I noticed a huge story about the films of Pam Grier.Talking to a family friend about the mag,he mentioned to me that he had recently discovered that Grier had appeared in a Blaxploitation remake of The Asphalt Jungle,which led to me getting ready to catch some breeze.The plot:Released from jail, master criminal Sidney Lord Jones (what a "street" name!) heads to LA. During his time in jail,Jones read magazines about diamonds ,which gave him the idea of planning a diamond heist,so that Jones can set up a "black bank",which will give affordable loans to African Americans.Meeting underground bookie Finian and his major "financer" Bill Mercer,Jones reveals that he needs $50,000 in order to hire the best team for the heist.Keeping the fact that he is almost broke hidden from view,Mercer agrees to fund the robbery,whilst making secret plans to keep the diamonds all for himself.As Jones and the rest of the team start robbing the diamonds,they discover that Mercer has ruthless plans of his own.View on the film:Before I get to the movie,I have to mention that Warner Archives have given the title a very good transfer,with the audio being clear and easy to hear,whilst the picture is clean,but still retaining the gritty flavour of the film.Keeping Solomon Burke's smooth jangly Funk score humming in the background,writer/director Barry Pollack gives the title an extraordinary rustic atmosphere,with Pollack following each gang member with hand-held whip-pans that give the film an almost documentary appearance.Along with the shot gun whip-pans,Pollack also slices Neo-Noir tension through a Blaxploitation filter,by covering the movie in ultra-stylised,low-lit primary colours,which heat up as tension starts to build between the gang.Whilst the guys dominate the movie,the very sexy Pam Grier (who also appears naked) stands out in her small role as Mona,with Grier clear unease being the first shot of doubt to hit any of the gang members.Entering the film dancing out of jail, Thalmus Rasulala gives an excellent performance as Sidney Lord Jones,who Rasulala wraps up in silky-smooth Blaxploitation charm,which becomes brittle,as the fall out from the robbery leads to Rasulala transforming Jones into a Film Noir loner. Joining Rasulala, Julian Christopher gives a wonderful performance as Travis Battle,who Christopher gives a hard thug edge which never fits in with the socially savvy skills of Jones & Mercer.Bringing The Asphalt Jungle into "the hood",the screenplay by Barry Pollack surprisingly does not pay much attention to the rehearsals of the robbery,with Pollack moving from the formation of the team straight to the robbery.Whilst sadly missing out on building anticipation for the robbery,Pollack makes up for it by making the robbery a thrilling set-piece,which sets each of the gang up for a Neo-Noir final note.Making sure that the title does not solely hang on the robbery,Pollack gives each of the gang members distinctive introductions,with Jones movie star sheen rubbing against Travis battered & bruised street fighter,as they both enter the deadly Blaxploitation Asphalt Jungle.

The idea behind this movie - remaking "The Asphalt Jungle" with a mostly black cast - did have some promise. But the end results fail in just about every way you can think of. The movie is directed in a way that has some real grit and atmosphere - you can feel the run down atmosphere of 1970s Los Angeles. And things are wrapped up in the end in a cynical way that you could only get in 1970s cinema. But the screenplay is a mess. It takes FOREVER for the movie to really start going. When the robbery is executed, it comes as a surprise, since we previous saw almost no preparation for it. And after the robbery, the movie slows down once again, unfolding so slowly that I think even the black audience this was aimed at was sorely bored. It doesn't help that there is not one sympathetic character in the entire movie. This is one breeze that has the scent of a real stinker.

If you plan on watching this movie for the storyline, don't. Watch Asphalt Jungle instead. If you want to watch this movie because it's an excellent blaxploitation flick, PLEASE DO! It's a little long-winded, and starts to drag out at the end, so keep some munchies handy. (I also think that it tries to recreate Jungle with some veracity, which lends a bit of awkwardness at times.) However, keep eyes and ears open to the real exploitation going on in the film -- the white community that just does not "get it", the subtle jokes between the main characters concerning that fact, and the definite black pride (the pride not to be white) that the movie puts forth (although all of it from a paternalistic point of view, sadly.) Also, this was one of Pam Grier's breakout roles, so if you're a fan and expect to see a lot of her, you'll be disappointed, but Thalmus Rasulala more than makes up for it: he's the face you know but never can quite place, and is exactly the commanding presence and to-the-point bad boy that this movie needs. I left feeling like I needed to walk around with a wah-wah pedal playing my own little theme song for the rest of the day. (NOTE: I was able to see this film at a Library of Congress screening; it is my understanding that not many prints are available, and the film I saw actually broke half-way through but the technician was able to repair it. Good luck to you in getting the opportunity to see this one if you can.)