) perches on the window sill of the squalid Bronx apartment she dares not leave, facing right into a lethargic fan that scarcely even stirs the wavy brown hair off her sticky shoulders. Outside, little blisters of violence and intimidation erupt on the tinder-box streets, and somewhere nearby, Son of Sam is murdering women with wavy brown hair.
For all the hothouse menace Griffin summons, there is something coldly considered about “The Wolf Hour.” As much as we feel June’s anxiety, and the acrid, stultifying weight of the humid air that encases her like wet cement, we never feel for her.
This cautiousness also extends to the film’s themes. Whereas there is a racial and a class element to June’s paranoia, as an unstable, vulnerable white woman from a wealthy background living alone and friendless in a predominantly black, poor, socially volatile neighborhood, the film shies away from a real exploration of that provocative situation.
“The Wolf Hour” touches on explosive ideas of racism, sexism, guilt, delusion and urban isolation, so it’s frustrating that, like the gun June obtains at one point, they are handled only warily and then shoved under the floorboards. The general consensus is that the other major 1977 heatwave-set New York City film, Spike Lee’s sprawling “Summer of Sam,” bit off more than it could chew.
Source: Entertainment Trends (entertainmenttrends.net)
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