SILVER SCREEN TARNISHES UNIONS Hollywood movies have given workers a black eye by Ken Margolies union, "I didn't work my way out of AL scene from the movie Breaking there for nothing. You know taking over X ^^Away: Outside an Indiana quarry this local took a little doing; there were two old timers watch a man drive up in a ?' if iB& •% some pretty rough fellers in the way . . . Cadillac. One of the old timers says, "It I have 2000 dues paying members. That's must be a safety inspector." The other $72,000 a year legitimate, and each one responds, "Or a union organizer." of them puts in a couple of bucks a day It is disappointing, but not surprising, to make sure he works steady . . . that's that Breaking Away—a film with ''-AT ' wM just for openers." something to say about working people Through Father Barry (Karl Maiden), —works the image of the corrupt union y 'JrV \. m-sfc* the film does made an effort to organizer for a laugh. disassociate the dishonest union from the Organizing a film festival of pro-labor rest of the labor movement. After Hollywood films would be rather dif­ observing the man giving kickbacks to ficult. When unions do appear, they are get work, Barry declares, "Is that all you often part of the subplot or the back­ do, just take it? What about your ground for the main story line. union? ... No other union in the coun­ We are currently seeing a few union try would stand for a thing like that." portrayals, but like a union buster's ^. •*JL>J* Unfortunately for labor's image this is a dream come true, the America on the Many of these were produced during minor part of the story, and most movie screen has been almost union free. viewers probably miss the point. The Where portrayed, organized labor's im­ periods of great labor turmoil, during the pre-World War I era and the 1930's. film is not as concerned with the labor age on film ranges from inaccurate to theme as it is with Terry's (Marlon sordid. Union leaders are depicted as With some notable exceptions they have illustrated ideas that discourage union Brando) character development. Viewers outside agitators, inept nice guys or "big remember the now legendary taxi scene cigar" corrupt bosses. They provoke membership. A union organizer could find in Hollywood films most of the and the corrupt union, not the minor violent strikes, misuse union funds and dialogue of Father Barry. dictate to the members. standard reasons workers give for not Movies reflect none of the great drama joining unions. They confirm the un­ In the end the longshoremen defy the of grievance processing or collective organized workers'—and the public's gangster union leader and follow the bargaining, preferring the more easily —worst fears about the labor movement. blacklisted Terry to work. The men pro­ exploitable action of strikes; and where Corruption claim this will "give us back our union, strikes are portrayed, violence and chaos The most celebrated and best so we can run it on the up and up." But predominate. remembered film about unions is On the once created, the image of the corrupt Hollywood has stereotyped not only Waterfront, the Academy Award winner union is not nullified so easily. In the unions but also union members who are in 1954. On the Waterfront cannot be minds of many movie goers Johnny almost always sweaty but lovable, blue called an anti-labor film, but its chief Friendly lives on as an accurate picture collar types. Overlooked are millions of contribution to the movies' portrayals of of modern labor leaders. professional, technical and white collar unions is an indelible portrait of union Union leaders in films began as out­ members of the labor movement. corruption. Johnny Friendly (Lee J. side agitators who always provoked More than a hundred commercial Cobb), the racketeer union boss of the strikes unrelated to any issues facing the Iilms with some mention of unions have waterfront, became a symbol of the workers. As unions became legally oeen produced in the past 75 years. labor leader. recognized and more established, the The film opens with Friendly collec­ union leader was portrayed as just Ken Margolies is an organizer for the Com- ting money from kickbacks, extortion another boss, abusing the union's dues ™w'2f T Worke™ of America (CWA) and an and loan-sharking. He explains how he and giving orders to the members instead

SCREEN ACTOR Above, Sally Field in "Norma Rae" Early movies showed organizing efforts as ineffectual, un-American. Throughout movie history unions were of ways, but all of them negative. In Pete on Strike (1911), a strike is called because almost synonymous with strikes. It is Wants a Job, made in 1910 by Pathe, the Mr. Faddleaway decides he is tired of management, not unions, who come labor leader is portrayed as an oppor­ working. Although all he ever does is sit through for workers in films. tunistic loser who fails at every job he around in a bar with his friends, he tries until he leads a strike. In The jumps up and declares, "Comrades, Pre-World War I, The Outside Agitator Agitator (1912), the troublemaker is a throw down your tools, we are going on The first audiences for movies were ranch foreman who comes back from a strike!" Throughout the short comedy, mostly working people. While sym­ vacation in the city infected with crazy revolutionary slogans are mocked as the pathizing with the plight of their major ideas. He uses whiskey to persuade the hero learns that working around the audience, the early movies showed most other cowboys to strike and demand that house for his wife is more than he can organized efforts to improve conditions the ranch owner divide his wealth. The handle. Finally he declares they have as ineffectual, un-American and inspired union organizer in The Strike (1914) is a won the strike and should return to by unscrupulous or misguided agitators. thug who dynamites the plant, ruining work. The titles alone reveal the bias of the the whole town when the company Charlie Chaplin's very popular Dough movie makers: Labor Agitators, Lazy relocates. and Dynamite (1914) shows striking Bill and the Strikers, Anarchists on Reality was not a high priority in films bakers as dark men with long black coats Board, The Bomb. The labor agitator about labor action. Comedies especially and Russian peasant caps. Chaplin goes would appear over and over until he was used great license to ridicule and stereo­ through his famous slapstick routines replaced several decades later by the type unionists. Strikes just magically trying to fill in for the absent strikers. more modern stereotype of union boss. happened with no hint of any real issues The strikers beat up another scab and The agitator was presented in a variety being involved. In Mr. Faddleaway Goes finally smuggle dynamite ("a stick of Russian candy" according to the title) in­ to a loaf of bread and blow up the bakery. Perhaps as a warning to workers in the film industry, How They Work in Cinema (1911) shows how a new movie director defeats a strike in his studio by using mechanical devices and a robot cast. In contrast to the dastardly labor agitator were a variety of respectable working class heroes who achieved gains for workers without strikes or violence. These heroes were sons of the bosses, clergymen and workers who kept their faith in the boss. An owner's son recinds a wage cut in The Girl Strike Leader (1910) when he falls in love and marries one of the employees. In How the Cause Was Won (1912), even the owner's son, working incognito in his father's plant, I ' cannot make any progress negotiating with his father because his tone is too demanding. But when the father shows up at a meeting of his employees who have just voted to strike, he immediately rescinds a wage cut when he is warmly in­ troduced by his old Civil War comrade, a worker in the plant. Heroic action by a worker to gain the boss' respect was presented as a model for both individual and collective suc­ cess. A railroad engineer gets to marry the boss' daughter and win a strike for his fellow workers by driving a train over a burning trestle in The Strike at Coaldale (1914). In The Strike at the Lit­ tle Jonny Mine (1911), a worker protects ** the mine superintendent from violent *:*£. strikers. Later all it takes is a calm ap-

Left, Roddy McDowell in 'How Green Was My Valley", Esperarwfs birthday party in "Salt of the Earth' (next page) SCREEN ACTOR The labor agitator would appear over and over until replaced by the union boss. proach from this worker, for the superintendent to grant all the workers' demands. In another mine strike, The Strike at the Mines (1911), a miner saves the manager during a violent strike. When the workers finally end the strike by driving away the malcontents, the hero gets promoted to assistant manager. The scab was treated with sensitivity and sympathy in Tirn Mahoney the Scab (1911). Tim believes in his union, but seeing his children starve during the strike drives him to the decision to scab. Moving Pictures World praised the movie saying, "The story is human and very probable if not typical." Some Positive Images There were some films that justified workers organizing to take action. Up­ ton Sinclair appeared in The Jungle (1915), a film version of his bestselling expose of the human working conditions in the meatpacking industry. But getting a pro-labor film produced did not mean it would be widely shown. Moving Pic­ ture World cautiously praised the pro- union Why? (1913) with this warning to exhibitors, "In this case we have a picture that we dare not wholly commend as a good offering for all kinds of audiences . . . things are bad enough, but they are not as this picture shows them." Perhaps to reward the AFL for sup­ porting World War I and punish the radical IWW for its opposition, a "sensi­ ble" union enjoyed great respectability in Dangerous Hours, one of nine "red scare" films released between 1919 and 1920. The communists in the film have all the negative attributes of the agitator in earlier films, but the unionists are not The revolutionary IWW was crushed strike by anyone with the right slogan. In patriotic and vehemently anti- by, among other things, public opinion Bell Boy 13 (1923), a young man pro­ communist. While the "reds" are middle generated from their anti-war stance. vokes a hotel workers' strike to force his class losers, opportunists or idealistic The AFL, on the other hand, supported rich uncle to allow him to marry an ac­ dupes with orders from Moscow, the the war and prospered from the govern­ tress. Harry, the nephew, easily leads the unionists are extremely reasonable earthy ment sponsored war-time, labor- workers off the job with speeches like, types. The union president refuses strike management cooperation. "What's the use of working when you assistance from the communists because, can strike?" and "Do you want to be "We're Americans and we're fighting 1920's Oppose Union, Achieve Success crushed under the heel of Capital?" The fair." Fighting fair meant politely telling Once the war was over, however, strike ends as easily as it started when the beautiful, young owner of the unions were attacked with a full scale Harry's uncle consents to the wedding. shipyard: open shop campaign called the The sheep-like workers go back to work Union president: "It's a general walk "American Plan." Throughout the 1920's when Harry tells them, "Fellow agitators out Miss Weston, ordered by Head­ companies used spies, strike-breakers — all our demands have been met." Walt quarters, and of course we have to and "yellow dog" contracts to create for Disney's Alice's Egg Plant (1925) has all obey. Our leaders feel justified or labor, what has been called the "lean of a little girl's chickens going on strike there'd be no strike; you understand years." The films of the 1920's continued after an agitator chicken comes to town. that." the anti-union themes established earlier The new arrival carries a satchel labeled Miss Weston: "I understand, and in and made some innovations. "Little Red Henski Moscow Russia the meantime we shall remain the One comedy and one cartoon enhance IWW" and incites the other hens with good friends we have always been." the image of workers being easily led on demands for "smaller eggs." Parts of this

SUMMER 1981 45 A movie director defeats a strike in his studio with a robot cast. cartoon appear in the recent documen­ worse conditions. The resulting strike The New York Times called the story tary of the IWW called The Wobblies. proves the moderate steward correct. "balderdash" but worried that, "The per­ In several films management pro­ Realizing what he has done, Muni nicious part of it, unfortunately, is that voked strikes to achieve its own ends. In redeems himself by taking a dramatic ac­ there are and will be those who accept the Dixie Flyer (1926), an ambitious tion which brings in the government to Mr. Cobb's statement of the case as a railroad vice president tries to remove the return the situation to normal. complete dossier of fact." Considering company president by provoking a strike Spencer Tracy in RiffRaff is another the history of films about labor prior to among the employees. A rich father, ignorant worker with leadership Our Leading Citizen, the Time's com­ unhappy with his daughter's new hus­ qualities. He is persuaded by the flattery ment seems understated. band in Coming Through (1925), gives of an agitator to provoke a strike over the son-in-law a management job in his the objections of the moderate leaders of Turning Point toughest mine, hoping he will fail. The the longshoremen's union. The strike Out of the labor struggles of the 1930's assistant foreman gets the word that the causes things to go badly for the came official and legal acceptance of owner wants trouble, so with the help of workers, and Tracy becomes an outcast. organized labor. This acceptance was a saloon owner, they cause a violent However, he wins back his union reflected in more positive images of strike. membership when he breaks up the labor on the screen. Some of these new Having established the agitator and unions as evil, the films of the 1920's added a slightly new theme to the labor picture. Overcoming labor troubles became the road to success for young working men. Wealth and the owner's daughter come to a garment presser in A Tailor Made Man (1922) when he resolves the labor problems of a shipping magnate despite the opposition of crook­ ed labor leaders. In The Runaway Ex­ press (1926), a man gets offered a job after he commandeers a railroad train from the engineer who refuses to go any further until he has his union rest period. In Men of Steel (1926), a steel worker is wounded saving the owner's daughter from violent agitators. To the delight of his co-workers, he marries the owner's daughter and becomes half owner of the mill. The 1930's Unions Meant Strikes The movies of the 1930's continued to equate unions with going on strike. The workers rarely understood the reason for striking, and strikes never produced any positive changes in working conditions. Coming during a period of tremen­ dous labor struggles, the films sometimes alluded to actual strikes. Black Fury agitators' plan to bomb the waterfront. images were provided by independently (1935) about a coal miners' strike and Several other 1930's movies reflected produced films that reached a limited au­ RiffRaff (1936) are two such films. the negative view of unions. When it was dience, such as Millions of Us and The Black Fury features Paul Muni as a released, Our Leading Citizen (1939) was Wave. Millions of Us, produced by not very smart but well-respected worker attacked by Film Audiences for Demo­ American Labor Pictures, Inc., shows an who, while drunk, inadvertently advises cracy and others as anti-labor. The story unemployed man who contemplates his fellow workers to strike. Until hear­ occurs in a small town where a mill scabbing on a metal workers' strike until ing from Muni, the miners are undecided owner institutes a totally unjustified 10 he is given food and an explanation by a whether to listen to a militant worker or percent pay cut, thus provoking a strike. friendly union organizer. The Wave, a moderate union steward. The militant Scabs and guards are brought in, and commissioned by the Mexican govern­ secretly works for a firm that hires out labor agitators respond by stirring up ment, produced by Paul Strand and co- scabs and guards during strikes. He riles violence resulting in an explosion at the directed by Fred Zinneman, also shows up the miners by calling the union mill. Bob Burns plays an honest lawyer the error of scabbing. During a strike by leaders sell-outs and attacking their big who kicks out the outsiders and urges the Mexican fishermen, the scabs are con­ salaries. The union steward warns that citizens of the town to help him settle the verted when they see the strike leader, a listening to radical talk will only lead to dispute in the "good old American way." former friend, brutally murdered by the

"Grapes of Wrath," a milestone for unions in the movies SCREEN ACTOR Getting a pro-labor film produced did not mean it would be widely shown. boss' politican front man. hears honest men who speak up about and who gives a damn?" The new script A popular film with pro-union senti­ poor working conditions called "reds," emplasized the development of the ment is The Devil and Miss Jones (1941), "agitators" and "labor fakes." Finally he Morgan family. The film is usually a comedy about department store demands skeptically, "What is these reds remembered fondly for Roddy employees. The owner of the store anyway? Everytime you turn around, McDowell's portrayal of the youngest secretly infiltrates his store posing as a somebody calls somebody else a red. son, Huw, and the tragic love between shoe salesman. Instead of confronting Who is these reds anyway?" the preacher and Huw's sister Angharad. the union organizers as he plans, he The only true agitator in the film is The labor aspects of the film are learns they have legitimate complaints. Casey, an ex-preacher and old friend of mixed in their effect. The working condi­ He is treated well by the other workers the Joad family, murdered by company tions depicted are unrealistically good and poorly by management. The union deputies for leading a strike. Tom and the negative images of the owners organizer, played by Robert Cummings, avenges Casey's death and must flee are not carried over from the book. The is not an agitator or a radical, but a from his family. His inspired final pro-union forces are the sons of the regular Joe who believes in Coney speech about collective action, "If all our Morgan family. They are polite and Island, the U.S. Constitution, and stand­ folks got together and yelled," and his respectful of their father but determined ing up for his rights. The film does show new mission in life, "Wherever there's a to "speak out against injustice anywhere, "!N ~ "—"V • V"-W with permission or without it." There are . _ <% no outside agitators, and the cause of the •7*" strike is just. The most significant state­ ment on unionism comes from the -i— ! preacher, "Have your union, you need it. Alone you are weak; together you are strong, but remember with strength goes responsibility." Balancing the preacher's endorsement of unionism are the scenes of the miners' strike against the wage cut. After months of hard times, the strikers wrongly threaten the father of the Morgan family because he initially opposed the strike. Philip Dunne, the screenwriter for How Green Was My Valley, comments on the significance of that film and Grapes of Wrath in an interview in "Blueprint on Babylon," "At the time, you know, we were being very, very ad­ vanced, we thought, in taking a position on the basic right to organize, which at that time was very much in doubt in this *F country. This was the time of all the sit down strikes and everything also going y:-m on, and labor unions were not accepted. They were only in the process of becom­ ing accepted in this country. So Zanuck A. in this and in the Grapes of Wrath was the union favorably but falls back on an fight so hungry people can eat, I'll be not only pioneering very courageously old theme: the boss, now enlightened, there," is a milestone in the movies' treat­ but also going against his own predilec­ makes the union unnecessary. ment of organizers. tions because he was bitter anti-labor The screenplay of How Green Was himself." The Award Winners My Valley omits much of the labor con­ Dunne goes on to say that he and This interlude of film acceptance for tent from the original book. According Zanuck were able to accommodate their unions was highlighted by two films, to Mel Gussow in his book, "Don't Say opposing views on union by presenting from bestselling novels, that made back- Yes Until I Finish Talking," Darryl both sides in How Green Was My to-back Academy Award sweeps for Zanuck rejected the first script for the Valley. The overall result is the message John Ford and Darryl Zanuck: Grapes film saying, "I get the impression that we that regretfully unions are a necessary of Wrath (1940) and How Green Was are trying to do an English Grapes of evil. They are just one more sign that the My Valley (1941). Wrath, and prove that the mineowners simpler, happier days of the past are Grapes of Wrath debunks some of the were very mean and that the laborers gone forever. Sif,ndard movie notions about agitators. finally won out over them. All this might All through his journey from Oklahoma be fine if it were happening today like 1950's Established but Corrupt or Inept to California, Tom Joad (Henry Fonda) Grapes of Wrath, but this is years ago By the 1950's the nation had recog-

SXJMMER1981 47 The new arrival carries a satchel labeled, "Little Red Henski, Moscow, IWW." nudge." The union's slow down collapses in the face of one firm word from Sid. Even Babe's dismissal for jamming up the machines is accepted by the union without protest. Even the union's definition of victory is rather weak. When Sid uncovers that the company has been building the cost of the IVi cent raise into its prices without paying the raise to the workers, he forces the company president, Hassler, to compromise. They rush to the union's strike vote meeting, and Hassler reluctantly announces his agree­ ment to the raise but with no retroacti­ vity. Some of the union members object, but Babe quickly yells, "Can't you see we've won!" and everyone starts dancing. It is interesting that Pajama Game deviates from the novel it is based on, "lYiV by Richard Bissell, by changing the union's character. In the novel the union is efficient and wins the raise through its own efforts. The grievance scene, the firing of Babe and the holding back on retroactivity do not appear in the book. While the film presents a union that is likable enough, it is not the kind of organization a worker could trust to get much done. Once again someone in management brings home the bacon for the workers. Except for a few militants who are descredited, the workers in The Whistle at Eaton Falls maintain their faith in benevolent management. When the kindly old factory owner is killed in a plane crash, the local unon president is nized that for better or worse, unions the Broadway musical, the union is as appointed the new plant manager by the were a permanent feature of American lovable as a teddy bear. The union presi­ owner's widow. Uncorruptable, strong, life. Even the Reader's Digest ran articles dent is a nice, dopey kind of guy who intelligent, an all-American, Brad, praising George Meany and Walter tells the union members the union played by Lloyd Bridges, really seems to Ruether, the new leaders of the soon to should, "be second only to our loved belong in management in the first place. merge AFL and the CIO. ones and kiddies." He steers a moderate The union replaces him with Bill, a more The movies following How Green course for the pajama workers local in its typical stereotype of a worker, played by Was My Valley quietly incorporate ac­ quest for a 7 Vz cent raise the rest of the Ernest Borgnine. Bill's heart is in the ceptance of unions but pounce on their industry has already instituted. right place, but he is not very smart or potential weaknesses. They harp on The working conditions are good and dynamic. labor's real or imagined faults, show the speed ups are something the workers As in Pajama Game, there is nothing boss favorably and invent non- happily sing about. The grievance in the offensive about the union. However, the threatening unions that only Hollywood film (and perhaps in any film) is filed by union is ineffectual and must depend on could love. a wimpy complainer after he gets pushed management to take care of the workers. In the Pajama Game and The Whistle by the new superintendent (John Rait). As plant manager, Brad must make at Eaton Falls, management again comes The grievance committee chairwoman, decisions he opposed as a union leader through for the workers in the end. The Babe (Doris Day), is so accommodating that cause layoffs. The whole communi­ unions are so incredibly reasonable and the grievance is dropped before the first ty is hit hard by the lack of work. Al docile it appears Hollywood was present­ step meeting. She tells Sid, the superin­ (Murray Hamilton), a recent arrival to ing a model for real unions to follow. In tendent, "We know you had provoca­ the small New England town, objects to the Pajama Game, a film duplicate of tion; we have it in our books as a slight the union's faith in Brad and tries to ex-

Abuw, Syhcwr Slultanv m "f'.l.S. T. ": ri^fir. rnim-is in "Him- Given W'm Mv Vulk'v SCREEN ACTOR "Wherever there's a fight so hungry people can eat, I'll be there." ploit the situation. In contrast to Brad, trayed as respectable, reasonable, miners union in The Salt of the Earth. Al is small, dark and seems motivated by dedicated, intelligent, firm and con­ Released in 1954, the film was repressed jealousy and ambition. He says, cerned with the wishes of the workers. because it was sponsored by the Interna­ "Labor's got to fight for every inch it The union too is shown as honest and tional Mine, Mill and Smelter Workers gets. Fight or you don't eat," and makes human. There are union dance classes, a Union, directed by Herbert J. Biberman it sound paranoid and overreactive. union housing project, and after the and produced by Paul Jarrico. The Al is thoroughly discredited when he gangsters kill Tullio, there is a mass union had been expelled from the CIO secretly teams up with the anti-union union funeral. Unfortunately the film for being communist and Biberman and former plant manager to thwart Brad's has a weak ending, both dramatically Jarrico were identified as communists by plans to bring everyone back to work. and from a pro-union viewpoint. the House Committee on Un-American At a union meeting the reasonable Returning to the long movie tradition, Activities. voices convince the union members to the Garment Jungle has the owner's son, Although called propaganda by some trust Brad and reject Al's call for militant moved by Tullio's dedication and of its critics, Bosley Crowther com­ action. In a last ditch effort to cause sacrifice, intervene on behalf of the mented that Salt of the Earth, "is in trouble, Al sets up a picket line and workers. Even in films that endorse substance simply a pro-labor film with a barricade at the plant gate. Bill unions, the boss is only a problem for the particulary sympathetic interest in the (Borgnine) drives up and announces, "I workers temporarily, if at all. Mexican-Americans with whom it never crashed a picket line in my life, and In stark contrast to the non-militant deals." The story is concerned with the I never will. But this ain't picketin'; it's fantasy unions in The Whistle at Eaton struggle within the union over the role of wild cattin'," and drives his car through Falls and Pajama Game is the realistic the miners' wives in a strike. the barricade. The other workers march past Al behind a woman leader who declares, "Are you going to let this hooligan wreck our union?" With the primary role of the union in the film being to support management and denounce militant troublemakers, it is never clear why the workers really need a union at all. None of the standard derogatory images of labor unions appear in the Garment Jungle, a film based on a Readers Digest article. Lee J. Cobb plays the owner of a large New York garment factory who hires gangsters to keep the union out. An ILGWU organizer, Tullio Renata, is determined to bring this com­ pany into the union fold regardless of the risks. Tullio's only fault is neglecting his beautiful wife because he is so dedicated to the union. From the first confrontation between the union and the company, it is clear who are the "good guys." When a new piece rate is introduced, an old Jewish woman rises timidly to say with an ac­ cent, "Mr. Foreman, I don't want to make a big tsymis, but this garment takes too much time for the money." The foreman responds in broken English, 'Who don't like, pick up your check and get out of here." In walks Tullio in a jacket and tie, cool and calm but firm, "Now hold it, Mister. Now suppose we talk this over. It'll get us a lot further than pushing these people around. Those days are over ... a majority here want the union." Tullio sounds like John Wayne protecting the innocent settlers in °ne of his many westerns. More impor­ tantly, a union organizer is finally por­

SUMMER 1981 49 non-threatening unions only Hollywood could love After withstanding the company's at­ dismissal on the grounds that "We do not thoughtful man who will not join a tempts to break their strike with scabs and cannot accept the idea that in­ wildcat strike he does not believe in. His and police violence, the miners face competence justifies dismissal—that's co-workers begin to look like a band of defeat of the strike from a court injunc­ victimization." thugs and louts as they persecute the tion. The women assert themselves and The situation gets out of hand when courageous and human Attenborough. replace their husbands on the picket line Stanley's insistence on working faster The story dramatizes the fears of many thus technically circumventing the in­ than the other workers provokes a strike perspective union members that they will junction. There are dramatic scenes of that spreads to the entire country. The be forced to support strikes called by the women bravely standing firm as the officially antagonistic chief steward and some autocratic and unreasonable company tries to run them down with personnel manager meet over drinks to union. cars. Within the strike leader's family try to resolve the strike and still save The same theme of individual freedom there is a crisis because he initially op­ face. Stanley will not go along with their vs. unthinking conformity is posed the women's participation. plan calling for him to resign because of Americanized in Sometimes a Great No­ Unlike most other film portrayals of overwork. Instead he goes on national tion (1971). An Oregon loggers union unions, in Salt of the Earth the workers TV and condemns both "management represents stifling conformity, and the debate issues at democratically run clap trap" and "union bilge." The film Stamper family led by Henry (Henry meetings and try to reach consensus. The employer is the adversary, not other workers as in numerous other films. Col­ lective action and solidarity pay off, and the film is inspiring. Unfortunately Salt of the Earth has only reach a limited audience. Big Labor vs. the Individual f r As the labor movement continued to * make gains, films began to say, "Unions ,. f may have been necessary when they started, but they have gone too far." -• r-» Such a film is I'm All Right Jack, a Boulting Brothers comedy that made the /•-Jfv 1'. New York Times Ten Best List in 1960. The British unions in Jack have gone so far the workers hardly ever work. Workers who are no longer needed are kept on to play cards, management is not 1 % K US permitted to increase the snail's pace set by the union and unexplained strikes happen with regularity. This is the world in which Stanley Windrush (Ian CarMichael), an upper class twit, enters as a blue collar worker. He is unwittingly part of his rich uncle's intricate plot to provoke a strike in his own plant in order to get a kickback on a defense contract. Unaware that he is the owner's nephew, the union quickly trys ends with "big labor" and "big business" Fonda) and Hank (Paul Newman) are to acquaint Stanley with trade unionism. victorious over Stanley but exposed as the rugged individualists. Chief Steward Kite (Peter Sellers) tells victimizers of the ordinary citizen. The Stampers are extraordinary peo­ him joining the union is, "not com­ Another British film released in 1960, ple who believe in keeping their word pulsory, but you have to join." Angry Silence, glorifies the strikebreaker and living up to their motto, never give When Kite suspects that Stanley is a while characterizing the union as an un­ an inch. The striking loggers union wants management spy because he is incompe­ thinking mob. As in Tim Mahoney the the Stampers, an independent operation, tent, ignorant of union principles and Scab, the scab is treated with sensitivity to support the strike by holding their logs wears a three piece suit while driving a and sympathy. The strikers, on the other back from the market. The unionists are forklift, a union delegation complains to hand, are cruel and vicious. Angry nice people but ordinary and mediocre. the personnel director, Major Hitchcock Silence goes further than other films, The Stampers are extraordinary people (Terry Thomas). Hitchcock, also however, in making the scab the symbol and do not like "union creeps" telling unaware of the uncle's plot, agrees to of the individual standing up for prin­ them what to do. oblige the union and "sack" Stanley im­ ciples against the regimentation and When the president of the entire na­ mediately. Caught off guard, the union rigidity of unionism. tional union again asks Henry and Hank takes a brief caucus and now opposes the Richard Attenborough plays a to cooperate because the "whole town is

Above and next page, police ihrearen unionists in "Black hiirv" and "Norma Rae SCREEN ACTOR Strikebreakers are heroes, unionists are pitiful losers. hurting from the strike," Hank responds union people can only gawk in dismay. The concerned hotel owner (Melvyn with a speech that a 1960's new left The defiant strikebreakers are the heroes Douglas) demands, "My people vote." radical or a present day right-to-work while the unionists are a bunch of pitiful The owner believes in, "I take care of my advocate could agree with. losers. employees, and they take care of my "Go on give us a look at the Twentieth The images in Sometimes a Great No­ guests," but the union leader seems more (century). All the slots and depart­ tion, Angry Silence, and I'm All Right interested in the workers' dues and his ments you stash people away in. You Jack correspond to one of the common business deals. The deal finally does get going to tell us when to stop cutting misconceptions about unions held by cancelled when the hotel is charged with and when to start cutting and who to many white collar and professional refusing to rent a room to a Black cou­ sell to and pat our little bottoms and workers. With no long history of ple. The union leader acts on politics, tell us what good little boys we are? unionism, these workers view unions as not principle when he explains, "Damn it Well, not yet, Bub, not yet you unable to address their individual needs. all, you killed your own deal. Do you don't." They visualize union leaders requiring understand my situation? I've got about Instead of an organization that helps them to work slower, support in­ 40,000 Negro members." bring freedom to working people, the competents and take orders. In the comedy The Out of Towners union is cast as the suppressor of Other modern films round out the pic- (1970), transit and garbage strikes appear briefly to illustrate one more of the com­ V^**^.*^,- mon plagues of modern urban life. Even t"m0tmmm Elvis Presley takes a swipe at unions in The Trouble with Girls (1969). The union steward in the film is ridiculous in the extreme. She represents the per­ formers in a Chautauqua by constantly complaining about imaginary anti-union plots and accusing Elvis, the manager, of having to drink "to forget the corrupt acts you daily perpetrate on the working class." Elvis is amused by the steward's ranting and raving, and at one point tells her, "I think I should have you put in a home for the silly." Labor History The 1950's and 1970's saw some film attempts at dramatizing labor history. On the positive side are The Organizer (1964) and Bound for Glory (1971). The Organizer is an Italian film with Marcello Mastroianni as an intellectual SatSSfc; organizer who helps downtrodden textile workers in 19th century Turin go on strike. In contrast to the standard Hollywood portrayal of agitators, Mastroianni's character is sincere and has nothing personally to gain from his freedom. ture of unions as "big labor." In Hotel involvement. The Stampers pay a price for trying to (1967), the union is rich and powerful, Bound for Glory tells the story of keep their word to deliver their logs on but not necessarily all out for the Woody Guthrie. Guthrie refused to stop time. Cables are cut causing accidents, members. When a grand old non-union singing organizing songs on the radio, Stamper children are taunted at school, hotel is in financial trouble, the and whenever he could he went to the and Stamper trucks are burned. It resourceful manager (Rod Taylor) ar­ fields and canneries to urge the workers becomes clear who are the better people ranges for a loan from the hotel workers' to unionize with his song. The AFL-CIO when three strikers ineptly try to set the union pension fund in return for the sponsored a showing of the film to Stampers' logs adrift. They end up hav­ hotel going union. The union leader is a benefit the United Farmworkers of ing to be fished out of the river. Hank well-dressed businessman in a nicely fur­ America with Cesar Chavez attending. does not hesitate when called for help nished office who agrees over the phone Not so beneficial to labor was The even though he knows the strikers are to lend the hotel two million dollars. The Molly Maguires, with violence as the behind the sabotage and harrassment of hotel manager agrees to "union shop and main theme. The story is told from the nis family. you write your own contract." perspective of the policy informer who When Hank triumphantly overcomes The deal almost falls through when infiltrated the secret society of miners in all odds to tow his logs to the mill, the the union expects immediate recognition. 1870's Pennsylvania. The Mollies try to

SUMMER 1981 51 Norma Roe's contribution, an image of organizer as winner. combat the poor working conditions in positive portrayal of a labor leader. promoted so long by Hollywood that on­ the mines with violence but succeed only However, much like On the Waterfront, ly losers and mediocre types, like the log­ in getting themselves hanged. the theme of corruption in F.I.S. T. over­ gers in Sometimes a Great Notion, need With Blue Collar and F.I.S.T., both shadows much of what is pro-union in a union. When Norma Rae brings the released in 1978, and Harlan County the film. In fact, the evolution of the entire textile plant to a halt by standing USA, the documentary on the mine union in the film is almost a perfect il­ atop a table with the word "union" held workers' struggle in Kentucky, winning lustration of the "unions had their pur­ defiantly above her head, she is a winner. an Academy Award, some observers pose, but now they have gone too far" You needn't be a union activist to feel began speculating about a new awareness cliche. The union leaders, Johnny Kovac proud of Norma Rae's triumph over of labor by filmmakers. — an approximation of Jimmy Hoffa management and her own self-doubts. Both Blue Collar and F.I.S.T. are —starts off dedicated and honest. The Present day labor organizing is re- concerned with union corruption. company owners use tremendous force endowed with the excitement and mis­ According to an interview with Paul and violence against the workers, forcing sion formerly reserved for labor's "good Schrader, the writer and director of Blue Kovac to make deals with organized old days." Collar, he deliberately sets out to show crime for defense. The union prospers, Whether more good films about labor unions as more corrupt and oppressive but it becomes corrupt and power will be produced in the future remains to than the employers. He succeeds. The hungry. be seen. The history is not encouraging. shop steward in the film is an unrespon­ Considering the history of films on Hopefully the critical success of Norma sive glad-hander trying to hang onto his labor, Norma Rae is extraordinary. Rae will lead to more films like it. Cer­ job so he does not have to return to the Made with the cooperation of Local tainly unions should make every effort to assembly line. The union president is a 1840 of the Amalgamated Clothing and support pro-labor movies and expose kindly looking white-haried man who is Textile Workers Union, Norma Rae was distorted portrayals of unions. prepared to use bribes or murder to filmed in an actual textile mill, and elo­ cover up the union's illegal activities. The quently states the case for unions. Perhaps the significance of positive government and the company come out Norma Rae's greatest contribution is labor images is best revealed by the looking relatively clean. The message is in offering an image of the organizer as response of textile workers to Norma obvious: unions have lost their original an heroic winner. Most important, the Rae. According to Bruce Raynor, the purpose. For the common working per­ hero emerges in the person of an or­ southern director of ACTWU, textile son, the union is one more boss. dinary working woman—a person with workers supporting the union have been It is understandable that unionists whom one can easily identify. overheard saying, "If everyone saw were excited by seeing Sylvester Stallone, The character of Norma Rae (Sally Norma Rae, we'd have this industry or­ then the hottest male star, cast in a Field) goes far to counteract the image ganized."

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David Carrudine us Woody Culhrie and Ozark (Ronnie Cox) in "Bound For Glory SCREEN ACTOR