"Power concedes nothing without a demand. It never did and it never will." - Frederick Douglass
Loosely affiliated with radical leftists, director Martin Ritt spent several years under a Hollywood blacklist. When McCarthyism died down, and directorial reigns were returned to him, Ritt made a series of socially conscious films, most of which were about struggles for equality, or which portrayed the downtrodden in a sympathetic light.
In this regard, Ritt's "The Molly Maguires" stars Sean Connery as Jack Kehoe, the leader of a secret organisation of Irish miners who seek better pay from their corporate employers during the late 1800s. Ritt has made such "pro-unionist" films before – see "Norma Rae" - but "The Molly Maguires" shoots off in unique directions. Here the Mollies use terroristic tactics to destroy factories, equipment and even people. This leads to Pinkerton Detective James McParlan (Richard Harris) going undercover and infiltrating the group. From here on, the film morphs into a gangster flick or undercover cop show, McParlan attempting to subvert the Mollies from within.
Today, whilst violence reigns across capitalism's peripheries, the system's core maintains an air of manufactured tranquillity. Here, the marginalised are effortlessly swept away, demonized, demoralised or rendered invisible. From the 1860s to the 1930s, though, hardly a year passed without deadly clashes between American workers and management. At the forefront of some of these clashes were the Molly Maguires, a secret miners' society which operated in Pennsylvania. Their history stretching back to feudal Ireland, the group is rumoured to have been named after one Molly Maguire, who opposed burgeoning rental and land ownership laws. After being expelled from Ireland, the followers of Maguire found work in Pennsylvanian coal mines, but savage work conditions resulted in them hurling scorn at both weak-willed labour leaders and coal bosses.
Though vilified, the Mollies improved the working conditions for miners and would be described by historians as "the first martyrs of the class struggle in the U.S." Their victories, though, were but a drop in the ocean. The ruling class quickly invented ways to subdue upheavals, creating police and/or militia forces to keep workers in check, and inventing new injunctions designed to deprive workers of their constitutional rights to freedom of speech, press, and assembly. These acts were accompanied by armed government-sponsored vigilantes, deputized citizens who enforced injunctions and who were given a green light to attack and arrest anyone suspected of participating in strike activity.
Today, the First World has been beaten into compliance. The Third World, meanwhile, is pretty much as Pennsylvania was in the 1890s. That there is a (causal) relationship between capitalism's core and peripheries, between wealth and poverty, value and debt, creation and destruction, is the chief denial of neoliberal orthodoxy, a stance which is increasingly contested by modern thermo-economists, who see capitalism as a heat engine in which money is essentially a loose avatar of energy, and so subject to thermodynamic laws; you cannot get something for nothing and the total order of a 'thing' is always less than the total disorder that is created somewhere else by the 'thing's' creation, a facet which commodity fetishism conceals.
Concealment is itself what "The Molly Maguires" is about; bosses want invisible workers, workers want to be heard, and both sides have foot-soldiers working in the shadows. The film's drama itself unfolds in the gaze of a giant coal sorting factory, a monstrous juggernaut which kills surrounding vegetation, and whose hands sap life out villagers, families and subterranean miners. Poetically, the factory's long tramlines recall the hill-steps of Ritt's "Hombre", another film which had an air of futility about it, men trapped in their own private Sisyphus Myths, doomed to toil.
"The Molly Maguires" was shot by master cinematographer James Wong Howe. Howe bathes Ritt's film in rich blacks and browns, and captures well a tone of grim beauty, his spaces lit by dying kerosene lamps, his faces marred by soot and soil. Elsewhere the film utilises impressive sets - the best frontier sets since Altman's "Mrs Miller" - one of which is a near full-scale replica of a 19th century mining town.
Interestingly, Sean Connery's character spends most of Ritt's film as a cypher, held at a distance and given very few lines. Still, with his broad shoulders and chiselled face, Connery exerts a commanding presence. Equally tough is Richard Harris, both actors large, carved from granite and sporting magnificently macho moustaches. Their relationship recalls the battles in Ritt's "The Brotherhood", "Hud" and "The Spy Who Came in from the Cold"; brothers on opposite sides of an ideological divide.
Like many of Ritt's films, "The Molly Maguires" is also preoccupied with groups being infiltrated, changed or subverted. Some of these films watch as activists infiltrate and emancipate proletariat groups, others watch as Power smuggles spies into communist or unionist groups, thereby eroding them from within. Typical of Ritt, the Church is also seen to side against the working class. Also complicit are the lower classes themselves, who sacrifice brothers for lucre and who slowly internalise the values, mores and beliefs of their masters.
Fittingly, "Maguires'" climax carefully juxtaposes tragedy and hope. As workers erupt into fiery violence, their impotency momentarily giving way to life-affirming ecstasy, death draws near. Final shot? A hangman's noose, one life about to be crushed so that another might climb the social ladder. Samantha Eggar co-stars.
8.5/10 – Underrated. See "Viva Zapata", "Matewan" and "Bread and Roses".
Loosely affiliated with radical leftists, director Martin Ritt spent several years under a Hollywood blacklist. When McCarthyism died down, and directorial reigns were returned to him, Ritt made a series of socially conscious films, most of which were about struggles for equality, or which portrayed the downtrodden in a sympathetic light.
In this regard, Ritt's "The Molly Maguires" stars Sean Connery as Jack Kehoe, the leader of a secret organisation of Irish miners who seek better pay from their corporate employers during the late 1800s. Ritt has made such "pro-unionist" films before – see "Norma Rae" - but "The Molly Maguires" shoots off in unique directions. Here the Mollies use terroristic tactics to destroy factories, equipment and even people. This leads to Pinkerton Detective James McParlan (Richard Harris) going undercover and infiltrating the group. From here on, the film morphs into a gangster flick or undercover cop show, McParlan attempting to subvert the Mollies from within.
Today, whilst violence reigns across capitalism's peripheries, the system's core maintains an air of manufactured tranquillity. Here, the marginalised are effortlessly swept away, demonized, demoralised or rendered invisible. From the 1860s to the 1930s, though, hardly a year passed without deadly clashes between American workers and management. At the forefront of some of these clashes were the Molly Maguires, a secret miners' society which operated in Pennsylvania. Their history stretching back to feudal Ireland, the group is rumoured to have been named after one Molly Maguire, who opposed burgeoning rental and land ownership laws. After being expelled from Ireland, the followers of Maguire found work in Pennsylvanian coal mines, but savage work conditions resulted in them hurling scorn at both weak-willed labour leaders and coal bosses.
Though vilified, the Mollies improved the working conditions for miners and would be described by historians as "the first martyrs of the class struggle in the U.S." Their victories, though, were but a drop in the ocean. The ruling class quickly invented ways to subdue upheavals, creating police and/or militia forces to keep workers in check, and inventing new injunctions designed to deprive workers of their constitutional rights to freedom of speech, press, and assembly. These acts were accompanied by armed government-sponsored vigilantes, deputized citizens who enforced injunctions and who were given a green light to attack and arrest anyone suspected of participating in strike activity.
Today, the First World has been beaten into compliance. The Third World, meanwhile, is pretty much as Pennsylvania was in the 1890s. That there is a (causal) relationship between capitalism's core and peripheries, between wealth and poverty, value and debt, creation and destruction, is the chief denial of neoliberal orthodoxy, a stance which is increasingly contested by modern thermo-economists, who see capitalism as a heat engine in which money is essentially a loose avatar of energy, and so subject to thermodynamic laws; you cannot get something for nothing and the total order of a 'thing' is always less than the total disorder that is created somewhere else by the 'thing's' creation, a facet which commodity fetishism conceals.
Concealment is itself what "The Molly Maguires" is about; bosses want invisible workers, workers want to be heard, and both sides have foot-soldiers working in the shadows. The film's drama itself unfolds in the gaze of a giant coal sorting factory, a monstrous juggernaut which kills surrounding vegetation, and whose hands sap life out villagers, families and subterranean miners. Poetically, the factory's long tramlines recall the hill-steps of Ritt's "Hombre", another film which had an air of futility about it, men trapped in their own private Sisyphus Myths, doomed to toil.
"The Molly Maguires" was shot by master cinematographer James Wong Howe. Howe bathes Ritt's film in rich blacks and browns, and captures well a tone of grim beauty, his spaces lit by dying kerosene lamps, his faces marred by soot and soil. Elsewhere the film utilises impressive sets - the best frontier sets since Altman's "Mrs Miller" - one of which is a near full-scale replica of a 19th century mining town.
Interestingly, Sean Connery's character spends most of Ritt's film as a cypher, held at a distance and given very few lines. Still, with his broad shoulders and chiselled face, Connery exerts a commanding presence. Equally tough is Richard Harris, both actors large, carved from granite and sporting magnificently macho moustaches. Their relationship recalls the battles in Ritt's "The Brotherhood", "Hud" and "The Spy Who Came in from the Cold"; brothers on opposite sides of an ideological divide.
Like many of Ritt's films, "The Molly Maguires" is also preoccupied with groups being infiltrated, changed or subverted. Some of these films watch as activists infiltrate and emancipate proletariat groups, others watch as Power smuggles spies into communist or unionist groups, thereby eroding them from within. Typical of Ritt, the Church is also seen to side against the working class. Also complicit are the lower classes themselves, who sacrifice brothers for lucre and who slowly internalise the values, mores and beliefs of their masters.
Fittingly, "Maguires'" climax carefully juxtaposes tragedy and hope. As workers erupt into fiery violence, their impotency momentarily giving way to life-affirming ecstasy, death draws near. Final shot? A hangman's noose, one life about to be crushed so that another might climb the social ladder. Samantha Eggar co-stars.
8.5/10 – Underrated. See "Viva Zapata", "Matewan" and "Bread and Roses".