Published via Ecency

(source: tmdb.org)

American cinema in the past used to make films which is not allowed to make today. One such example can be provided by films that are explicitly leftist in their political orientation and in which left-wing politics actually means something more than putting gender pronouns in Twitter bios. Add sympathetic portrayal of labour unions, institution that mainstream Hollywood studio executives despised, and such films become quite rare. One of them was Matewan, 1987 period drama written and directed by John Sayles, known as probably the most unapologetically pro-socialist film made in USA during Reagan’s era.

The film is based on the real event that occurred in southwestern part of West Virginia roughly a century ago. At the time local economy was almost completely dominated by coal mines and almost all population was made of coal miners. The mines, however, were owned by large corporations that did everything in order to extract as much profits as possible, naturally at the expense of their employees. One of those was Stone Mountain Coal Company, which forced miners to pay for the rent in houses owned by company, buy their own mining tools and paid miners’ meagre salaries only in company scrips redeemable only in company stores, thus making their livelihood completely dependable on company and their position not much different than slaves. Miners, as a result, tried to improve their position by forming a labour union and company answered with violence, which in turn made labour movement in West Virginia increasingly militant. In 1920 miners in Mingo County began long strike aimed at forcing the company to recognise the union. The plot begins when Joe Kenehan (played by Chris Cooper), seasoned activist of United Mine Workers, arrives in small town of Matewan to help organising and maintaining the strike. His first course of action is convince striking white workers to see black miners from Alabama and Italian immigrants, which had been brought by company to work as strikebreakers, not as enemies but as potential allies. The plan works and strikebreakers join the strikers’ ranks. Company reacts by sending team of private detectives of Baldwin-Felts detective agency led by psychopathic Hickey (played by Kevin Tighe) and Griggs (played by Gordon Clapp), which are aided by C. E. Lively (played by Bob Gunton), local union boss who is actually a company’s mole. Their attempts to evict strikers from their homes are, however, stopped by Matewan mayor Cabel Testerman (played by Josh Mostel) and sheriff Sid Hatfield (played by David Strathairn) who take side of the miners in a conflict that seems likely to end in bloody confrontation.

Matewan was produced independently and with budget that was quite low for 1980s standards. Sayles, however, turned that into film’s advantage, not having to worry about studios diluting the film’s overtly political message. He also showed great skill in putting his limited resources to good use. One example can be found in authentic West Virginia locations, which are portrayed by legendary cinematographer Haskell Wexler. Authenticity of the film is further enhanced with the use of Appalachian music. What is, however, even more interesting is the way Sayles makes this film look like western and uses its narrative structure, although with some of the tropes removed or inverted.

One of ingredients of classic western formula is clear delineation between Good and Evil. Sayles employs such approach and Matewan, at least for the most part, features characters that are either saintly or despicable. Despite limitations of such roles, cast does excellent work. Chris Cooper in his first film role simply shines in a role of (fictional) activist who represents clear moral authority; he not only tries to convince miners to reject racial and ethnic prejudices in order to enlarge their ranks, but also begs them not to fight company thugs’ violence with violence, warning them that they will lose in such confrontation. Kevin Tighe, on the other hand, is great in the role of thug that marvels in opportunity to insult, intimidate, torture, injure or kill everyone who stands in his way. But this isn’t a film that revolves around individuals. Matewan also works as an ensemble piece, allowing many great performances by actors in supporting roles. James Earl Jones adds a lot to this film with his regal presence while playing “Few Clothes” Johnson, leader of black miners. David Strathairn, a close friend and collaborator of Sayles, is also great as Sid Hatfield, character whose ultimate moral alignment remains mystery until late in the film. Sayles uses fictional character of 16-year old miner and lay preacher Danny Radnor (played by Will Odham, musician nowadays known as Bonnie “Prince” Billy) as narrator and character whose perspective will frame the film. Oldham is great, especially in the scenes with Jace Alexander, young actor who plays Danny’s friend Hillard, a character whose death represents the most emotional moment of the film. Mary McDonnell is good in somewhat stereotypical role of Danny’s mother Elma who is implied to be romantically interested in Carnahan while being target of thugs’ intimidation.

Matewan is very good film, but it has its flaws. Sayles’ direction is at times sloppy and allows some scenes and characters to be too confusing. There is also an issue with pacing, created by melodramatic subplot involving young widow (brilliantly played by Nancy Mette) developing romantic feelings towards Carnahan which are exploited by Lively to falsely accuse Carnahan of being company spy. The resolution of such subplot is almost laughably unrealistic. Final showdown, on the other hand, is inspired by Gunfight at O.K. Corrall, but Sayles uses it as an opportunity to refer to Heaven’s Gate, Michael Cimino’s bloated epic that dealt with similar kind of event which makes Matewan look like masterpiece in comparison. Film lacks proper resolution and the actual historical aftermath of the Battle of Matewan, which was much more sinister and violent (featuring greatest military conflict on US soil since Civil War) is mostly ignored by the narrator. Yet, despite those flaws, it is not only unusual part of American film history, but also a very good piece of film making, as well as good reminder for some keyboard leftists what social justice used to mean and what it still means in some parts of the world that deliver resources for “clean energy” cars.

(Note: Matewan wasn’t the first film to depict Battle of Matewan. In 1920, shortly after it, striking miners managed to collect enough money to produce Smilin’ Sid, short silent documentary featuring Sid Hatfield, then considered to be a folk hero. The film was allegedly stolen from National Archives and is, like so many made in silent era, now considered lost.)

RATING: 7/10 (+++)