A House Is Not a Home

A House Is Not a Home is a compelling drama film directed by Russell Rouse, released in 1964, which unflinchingly delves into the gritty underbelly of life's darker shades. Starring Shelley Winters in a fierce and commanding performance, alongside the dependable presence of Robert Taylor and the charming Cesar Romero, the film stands as a stark exploration of morality, survival, and the struggle between vice and virtue in the early 20th century.

Based on the eponymous autobiography of Polly Adler, one of the most notorious madams in American history, A House Is Not a Home tracks the tumultuous rise and fall of a woman who finds herself caught in the web of the underworld. Shelley Winters embodies the central character, Polly Adler, with a blend of vulnerability, tenacity, and grit, crafting a portrayal that is both complex and sympathetic. Polly's journey from rags to notorious riches brings out the nuanced conversation about the Socio-economic forces that push individuals towards paths they never intended to walk.

Set predominantly in the roaring twenties, a period marked by its freewheeling sense of prosperity and catastrophic decline into the Great Depression, the film is rich with the period's atmosphere. Polly Adler arrives in America as a young immigrant, full of hope and dreams for a better life. However, due to a concatenation of unfortunate circumstances and naive missteps, Adler quickly finds herself in dire straits, resorting to a life of illicit activities as her form of claiming power and autonomy in a society teetering on the brink of moral bankruptcy.

Robert Taylor plays Frank, a composite character who encapsulates the various men- both shady and gallant- that cross Polly's path. Taylor brings a weighted gravity to this role, acting as both an antagonist and occasional savior in Polly's life. His portrayal underscores the complex male attitudes of the period toward women like Adler, influenced by a mixture of desire, contempt, and bemusement.

Cesar Romero is spectacular in his role as Lucky Luciano, an iconic gangster figure whose influence on Polly's life is both beneficial and destructive. Romero's performance is slick and savvy, exuding the charisma and danger associated with upper-echelon figures in the criminal world. His interactions with Polly illustrate the precarious dance between illegal enterprise and the quest for respectability and safety.

The film's title, A House Is Not a Home, metaphorically suggests that the physical structures that Polly builds her life around - the lavish bordello that becomes her empire - are devoid of the true essence of a 'home': love, security, and genuine human connection. This dichotomy is masterfully woven into the screenplay, and the production details, from set designs to costumes, reflect this thematic complexity.

Director Russell Rouse employs a narrative structure punctuated by moments of drama, romance, and the suspense of living on the cultural fringe. Coupled with the film's cinematography, which captures the lush interiors of Polly's business against the stark reality of her emotional isolation, the visual language of this drama is both dynamic and illustrative of the film's core themes.

Moreover, the film engages with the era's gender dynamics, examining how a woman in Polly's position— entrusted with the secrets of the wealthy and influential—navigates the power and peril that comes with such knowledge. The depiction of female camaraderie and competition within Polly's establishment adds a poignant layer to the narrative, highlighting the different survival mechanisms the women employ.

A remarkable supporting cast, including dynamic performances by Kaye Ballard, Ralph Taeger, and Broderick Crawford among others, enrich the film's world, bringing humor, pathos, and authenticity to the diverse characters whose lives intertwine with Polly's.

Deeply emotional and at times a commentary on societal and personal ethics, A House Is Not a Home challenges the viewers to ponder over the choices we make and the circumstances that shape those choices. It drums up questions about the morality of survival when the world leaves you with few options to begin with. The film controversially brings into focus the life of a woman who, through desperation and ambition, becomes a key figure in the gender and class struggles of her time.

Viewers approaching this film can expect to be transported to a vividly realized bygone era, and experience a narrative that fearlessly confronts topics of gender, power, and the enduring question of what truly constitutes a home. Shelley Winters' portrayal of Polly Adler is both heart-wrenching and powerful, standing as a testament to the enduring spirit amidst life's most challenging trials.