Who ever heard you get indicted for embezzling billions from the U.S. Treasury when (immunized by “conservatives” on the U.S. Supreme Court) you “have every right to do it”?
Think “the short-fingered vulgarian” won’t plunge his stubby mitts into the national cookie jar if reelected? That is, if he hopes to impress Russian dictator Vladimir Putin and get richer doing it?
No one more sentient than mold slime doesn’t know that’s exactly what Trump will do. Maybe even before sending troops into the streets to apprehend and throw into concentration camps anyone brown and migranty-looking .
For context, Trump was commenting on the superseding indictment filed last week by special counsel Jack Smith in the stolen documents case. It’s Trump’s fourth indictment, on four federal charges this time. He has pleaded not guilty to purloining the hundreds of national security documents FBI agents recovered from Trump’s Mar-a-Lago club after Trump left the White House.
Former U.S. Attorney and Sisters-in-Law podcast co-host Joyce Vance responded to Trump’s statement on FKA Twitter:
There’s no right to “interfere” with a presidential election. This is the banality of evil right here—Trump asserting he can override the will of the voters to claim victory in an election he lost. And, he will do it again. We must vote against him in overwhelming numbers.
“Criming and then confessing to the criming. That’s a Trump specialty,” MSNBC’s Katie Phang (“The Katie Phang Show”), also an attorney, responded on FKA Twitter.
In a later comment to Levin, Trump accused Vice President Kamala Harris of treating his vice president, Mike Pence, horribly. (What he meant, if anything intelligible, is unclear.)
Harry Dunn, the former United States Capitol Police officer bloodied and called the N-word by rioters during the Jan. 6 insurrection, responded to Trump, “You sent a mob to kill him,” meaning Pence.
Next time Trump brings up the radical left/Marxist enemy someone could ask him why he as US President was being paid by a Communist government. https://t.co/tqmAymdB9Q
Harris and the Democrats came out of their August convention exuberant about the bright future they hope to create for America. Trump and his MAGA base inhabit Gotham City, dark corrupt, and plundered by clownish sociopaths in bad makeup.
Alfred Pennyworth: “Some men aren’t looking for anything logical, like money. They can’t be bought, bullied, reasoned or negotiated with. Some men just want to watch the world burn.”
And then there’s Donald Trump.
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It’s Labor Day. If counties have not begun preparations for the general election by now, it’s too late for this little guide to help. I’ll stop posting this link after today.
On November 21, 1922, the New York Times published its very first article about Adolf Hitler. It’s an incredible read — especially its assertion that “Hitler’s anti-Semitism was not so violent or genuine as it sounded.” This attitude was, apparently, widespread among Germans at the time; many of them saw Hitler’s anti-Semitism as a ploy for votes among the German masses.
Times correspondent Cyril Brown spendsmost of the piece documenting the factors behind Hitler’s early rise in Bavaria, Germany, including his oratorical skills. For example: “He exerts an uncanny control over audiences, possessing the remarkable ability to not only rouse his hearers to a fighting pitch of fury, but at will turn right around and reduce the same audience to docile coolness.”
But the really extraordinary part of the article is the three paragraphs on anti-Semitism. Brown acknowledges Hitler’s vicious anti-Semitism as the core of Hitler’s appeal — and notes the terrified Jewish community was fleeing from him — but goes on to dismiss it as a play to satiate the rubes (bolding mine):
He is credibly credited with being actuated by lofty, unselfish patriotism. He probably does not know himself just what he wants to accomplish. The keynote of his propaganda in speaking and writing is violent anti-Semitism. His followers are nicknamed the “Hakenkreuzler.” So violent are Hitler’s fulminations against the Jews that a number of prominent Jewish citizens are reported to have sought safe asylums in the Bavarian highlands, easily reached by fast motor cars, whence they could hurry their women and children when forewarned of an anti-Semitic St. Bartholomew’s night.
But several reliable, well-informed sources confirmed the idea that Hitler’s anti-Semitism was not so genuine or violent as it sounded, and that he was merely using anti-Semitic propaganda as a bait to catch masses of followers and keep them aroused, enthusiastic, and in line for the time when his organization is perfected and sufficiently powerful to be employed effectively for political purposes.
A sophisticated politician credited Hitler with peculiar political cleverness for laying emphasis and over-emphasis on anti-Semitism, saying: “You can’t expect the masses to understand or appreciate your finer real aims. You must feed the masses with cruder morsels and ideas like anti-Semitism. It would be politically all wrong to tell them the truth about where you really are leading them.”
Nicolas Kristof says that we shouldn’t demean people like the parents of this little boy because they are good people who are just suffering from economic inequality. Just so you know, they’re still saying it.
Kind of a big deal that a majority of Americans think someone who hasn’t been president is more qualified than a person who actually did the job pic.twitter.com/VzmxBo19Or
But it’s true. He was never qualified and he didn’t learn anything on the job. He’s even more unfit than he was the first time since he is so filled with bitterness that he’s losing what few marbles he had.
The story of how VP Harris worked to diffuse a transition of power crisis in Guatemala – while Trump undermined the U.S. by supporting the loser of the election – is both incredible and a sign of how ready she is to lead.
Biden gave Harris the job of reducing migration from Central America and by late 2023 her effort was showing remarkable success. Rates had come down 50%.
But a political crisis in Guatemala risked throwing that key country in chaos, potentially erasing many of her gains. President Alejandro Giammattei had just lost the election handily, but supported by Trump surrogates, he signaled he would refuse to give up power.
The inauguration of the winner, Bernardo Arévalo de León, was at risk. A Trump-backed Central American coup was at hand.
Harris did not hesitate. She led an effort to quickly sanction hundreds of Giammattei backers, sending a clear signal that there would be a huge price to pay for anyone who joined the coup attempt.
She sent her top foreign policy advisor to Guatemala to directly engage.
On the eve of Inauguration Day, the situation was still uncertain. Trump’s envoys were there, trying to stop the inauguration.
Along with @PowerUSAID, Harris’s team went back to work. They worked with Colombian President @petrogustavo to rally regional support for Arévalo.
Harris’s intervention worked. Arévalo was sworn in shortly after midnight on January 15.
Yes it’s scary how openly Trump now works to undermine democracy not just in the U.S., but around the world.
But in this case and this November, Kamala Harris is there to stop him.
That sounds like a success to me…
I knew Trump was actively undermining American foreign policy and national security but I didn’t realize that Trump and his henchmen were backing right wing coups all over the world. But it figures. In refusing to accept the 2020 loss, they continued to operate as a shadow government, doing whatever they choose to advance their own causes.
Will we be able to put this genie back in the bottle? I truly wonder. When you have “leaders” like Tom Cotton, Josh Hawley, Marco Rubio fully bought in, where is the pushback going to come from?
Look at that mess. That’s not some blog post written by me after a few drinks at 2 in the morning. It’s the NY Times! For reasons that are obscure they, and much of the mainstream media, is engaged in insane gymnastics trying to keep from accurately describing Donald Trump’s disintegration. It’s profound and it’s alarming.
“At first, I thought this was a parody,” Risen told me. Unfortunately, it wasn’t. Even more unfortunately, the lack of judgment it displays is all too common in the Times and throughout Big Journalism as mainstream media covers Donald Trump’s campaign for president.
“Harris and Trump Have Housing Ideas. Economists Have Doubts,” is the headline of the story he was angered by. If you pay attention to epidemic of “false equivalence” in the media — equalizing the unequal for the sake of looking fair — you might have had a sense of what was coming.
The story takes seriously Trump’s plan for the mass deportation of immigrants as part of his supposed “affordable housing” agenda.
Here’s some both-sidesing for you, as the paper of record describes Harris’s tax cuts to spur construction and grants to first-time home buyers, and Trump’s deportation scheme.
“Their two visions of how to solve America’s affordable housing shortage have little in common …But they do share one quality: Both have drawn skepticism from outside economists.” The story notes that experts are particularly skeptical about Trump’s idea, but the story’s framing and its headline certainly equate the two.
There’s only one reason I disagree with Risen’s reaction. He wrote: “This story is unbelievable.”
Sullivan has many thoughts about all this, all of which are worth contemplating.
She rightly observes that the Times is still immensely influential and does a lot of excellent work but it’s politics coverage “often seems broken and cluess — or even blatantly pro-Trump.”
At the same time, when Trump does something even more outrageous than usual, the mainstream press can’t seem to give it the right emphasis. Last week, NPR broke the news that Trump and his campaign staff apparently violated federal law — and every norm of decency — by trying to film a campaign video at Arlington National Cemetery and getting into a scuffle with a dutiful cemetery employee.
Of course, the story got picked up elsewhere and got significant attention. But did it get the huge and sustained treatment that — let’s just say — Hillary Clinton’s email practices did in 2016? Definitely not, as a former Marine, Ben Kesling, wrote in Columbia Journalism Review:
“Lumped together, the reporting this week left readers and listeners, especially with no knowledge of the military, at a loss to understand what actually happened — and crucially, why it mattered so much. The Trump campaign had successfully muddied the waters by alleging that the photographer had been invited to the event by family members of soldiers buried there.”
It came off, he wrote, “like a bureaucratic mix-up or some tedious violation of protocol,” not a deeply disrespectful moral failure, which it surely was. “The sacred had been profaned.”
And needless, to say, everyone knew that had Kamala Harris pulled a similar stunt it would have been screaming headlines for days. Trump gets a pass because well, he’s Trump. And his fans all love whatever sick, disgusting move he makes so there must be something right about it.
She notes that this has been going on for 10 long years now and has been the subject of endless criticism, to no avail. Nothing has changed.
And what’s more — what’s worse — they don’t seem to want to change. Editors and reporters, with a few exceptions, really don’t see the problem as they normalize Trump. Nor do they appear to listen to valid criticism. They may not even be aware of it, or may think, “well, when both sides are mad at us, we must be doing it right.” Maybe they simply fear being labeled liberal.
If you’re not on social media you don’t see just how defensive the elite media are to any form of criticism. Nobody is more thin-skinned and they don’t hesitate to show it. And it isn’t just the Times.
In the past I have felt most of the malpractice was unfair reporting of the Democratic candidate. And that’s certainly happening now. For instance:
It’s an opinion piece, but the headline and that picture were certainly a choice.
However, what I’m seeing that’s slightly different these days is in the Trump news coverage which has gotten exponentially worse. They are actively covering for him in ways that I haven’t seen them do before. During most of this unfortunate era, they’ve have at least attempted to present him somewhat realistically, even if it added up to “there he goes again.” Now it seems that they’re looking for ways to excuse, downplay, obfuscate what’s going on with him. They have completely capitulated to the normalization of his unfitness and his party’s march toward authoritarianism.
There are excellent reporters at the Times and all the elite media organizations. They need to do some soul searching and start asking some serious questions of their editorial leadership.
When Donald Trump is not campaigning in a string of sundown towns, he’s rubbing elbows with Moms for Liberty. * The New York Times has the full story:
The Moms For Liberty can get a bit carried away — one of their local chapters once accidentally quoted Adolf Hitler (“He alone, who owns the youth, gains the future”) and then issued an apology disavowing the Führer (“We should not have quoted him in our newsletter”) — but still, their summit on Friday made for a good case study. It was packed with the sort of voters Mr. Trump hopes can help him win in November: fired-up suburban women.
“He’s really thought this through and he is an incredibly twisted man,” Sam Seder tweeted in response to the JD Vance clip below.
Unearthed video: JD Vance attacks women “who can't have kids” because they “passed the biological period when it was possible” as “miserable” people who “have no real value system” and struggle to find “meaning” pic.twitter.com/IWFaHQFswJ
As if the prospect of this man being one heartbeat away from the presidency isn’t warped enough, our technology-fetishizing overlords want to put the electronic brains behind driverless cars in charge of defining reality for us.
You’ve noticed it too: “Google has rolled out generative AI to users of its search engine on at least four continents, placing AI-written responses above the usual list of links; as many as 1 billion people may encounter this feature by the end of the year.”
Yet AI chatbots and assistants, no matter how wonderfully they appear to answer even complex queries, are prone to confidently spoutingfalsehoods—and the problem is likely more pernicious than many people realize. A sizable body of research, alongside conversations I’ve recently had with several experts, suggests that the solicitous, authoritative tone that AI models take—combined with them being legitimately helpful and correct in many cases—could lead people to place too much trust in the technology. That credulity, in turn, could make chatbots a particularly effective tool for anyone seeking to manipulate the public through the subtle spread of misleading or slanted information. No one person, or even government, can tamper with every link displayed by Google or Bing. Engineering a chatbot to present a tweaked version of reality is a different story.
There’s evidence that interactions with AI distributing misleading information can create false memories in about a third of test subjects. Read the whole thing.
I’m struggling to get users of the computer database Democrats use for voter targeting not to take at face value information its algorithms spit out simply because it comes out of a computer. It presents data the way it wants you to see it: through a keyhole that obfuscates the bigger picture.
Darth Vader: Don’t be too proud of this technological terror you’ve constructed.
Raise your glass to the hard-working people Let’s drink to the uncounted heads Let’s think of the wavering millions who need leaders but get gamblers instead
-“Salt of the Earth”, by Mick Jagger & Keith Richard (from the album Beggar’s Banquet)
“It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying. Perhaps immortality, too, is part of the quest. To be remembered was the wish, spoken and unspoken, of the heroes and heroines of this book.”
― Studs Terkel, from his book Working: People Talk About What They Do All Day and How They Feel About What They Do
(Shame mode) Full disclosure. It had been so long since I had contemplated the true meaning of Labor Day, I had to refresh myself with a web search. Like many wage slaves (yes, I am still punching a clock at 68…Google “average 1 bedroom rent in Seattle” for further details), I view it as one of the 7 annual paid holidays offered by my employer (table scraps, really…relative to the other 254 weekdays I spend chained to a desk, slipping ever closer to the Abyss).
To paraphrase Marvin the Paranoid Android…I’m not getting you down, am I?
Labor Day, the first Monday in September, is a creation of the labor movement and is dedicated to the social and economic achievements of American workers. It constitutes a yearly national tribute to the contributions workers have made to the strength, prosperity, and well-being of our country.
By the way, Labor Day isn’t the sole “creation of the labor movement”. Next time you’re in the break room, check out the posters with all that F.L.S.A. meta regarding workplace rights, minimum wage, et.al. Perhaps I shouldn’t be so flippant about my “table scraps”, eh?
I have curated a Top 20 list of films that inspire, enlighten, or just give food for thought in honor of this holiest of days for those who make an honest living (I know-we’re a dying breed). So put your feet up, cue up a movie, and raise a glass to yourself. You’ve earned it.
Blue Collar – Director Paul Schrader co-wrote this 1978 drama with his brother Leonard. Richard Pryor, Harvey Keitel and Yaphet Kotto portray Motor City auto worker buddies tired of getting the short end of the stick from both their employer and their union. In a fit of drunken pique, they pull an ill-advised caper that gets them in trouble with both parties, ultimately putting friendship and loyalty to the test.
Akin to Elia Kazan’s On the Waterfront, Schrader subverts the standard “union good guy, company bad guy” trope with shades of gray, reminding us the road to Hell is sometimes paved with good intentions. Great score by Jack Nitzsche and Ry Cooder, with a memorable theme song featuring Captain Beefheart (“I’m jest a hard-woikin’, fucked-over man…”).
Bound for Glory – “This machine kills Fascists”. There’s only one man to whom Pete Seeger, Bob Dylan and Bruce Springsteen must kowtow-and that’s Woody Guthrie. You can almost taste the dust in director Hal Ashby’s leisurely, episodic 1976 biopic about the life of America’s premier protest songwriter/social activist. David Carradine gives one of his finest performances, and does a credible job with his own singing and playing. Haskell Wexler’s outstanding cinematography earned him a well-deserved Oscar. The film may feel a bit overlong and slow in spots if you aren’t particularly fascinated by Guthrie’s story; but I think it is just as much about the Depression itself, and perhaps more than any other film on this list, it succeeds as a “total immersion” back to that era.
The Corporation – “To assess the ‘personality’ of the corporate ‘person’ a checklist is employed, using diagnostic criteria of the World Health Organization and the standard diagnostic tool of psychiatrists and psychologists. The operational principles of the corporation give it a highly anti-social ‘personality’: it is self-interested, inherently amoral, callous and deceitful; it breaches social and legal standards to get its way; it does not suffer from guilt, yet it can mimic the human qualities of empathy, caring and altruism.”
While it’s not news to any thinking person that corporate greed and manipulation affects everyone’s life on this planet, co-directors Mark Achbar and Jennifer Abbott deliver the message in a unique and engrossing fashion. By applying a psychological profile to the rudiments of corporate think, Achbar and Abbott build a solid case; proving that if the “corporation” were corporeal, then “he” would be Norman Bates.
Mixing archival footage with observations from some of the expected talking heads (Michael Moore, Noam Chomsky, etc.) the unexpected (CEOs actually sympathetic with the filmmakers’ point of view) along with the colorful (like a “corporate spy”), the film offers perspective not only from the watchdogs, but from the belly of the beast itself. Be warned: there are enough exposes trotted out here to keep conspiracy theorists, environmentalists and human rights activists tossing and turning in bed for nights on end.
The Crime of Monsieur Lange – With its central themes regarding exploited workers and the opportunistic, predatory habits of men in power, this rarely-presented 1936 film by the great Jean Renoir (La Grand Illusion, The Rules of the Game) plays like a prescient social justice revenge fantasy custom-tailored for our times. A struggling pulp western writer who works for a scuzzy, exploitative Harvey Weinstein-like publisher takes on his corrupt boss by forming a worker’s collective. While it is essentially a sociopolitical noir, the numerous romantic subplots, snappy pre-Code patter, busy multi-character shots and the restless camera presages His Girl Friday.
El Norte – Gregory Nava’s portrait of Guatemalan siblings who make their way to the U.S. after their father is killed by a government death squad will stay with you after credits roll. The two leads deliver naturalistic performances as a brother and sister who maintain optimism, despite fate and circumstance thwarting them at every turn. Claustrophobic viewers be warned: a harrowing scene featuring an encounter with a rat colony during an underground border crossing is nightmare fuel. Do not expect a Hollywood ending; this is an unblinking look at the shameful exploitation of undocumented workers.
The Grapes of Wrath – John Ford’s powerful 1940 drama (adapted from John Steinbeck’s novel) is the quintessential film about the struggle of America’s salt of the earth during the Great Depression. Perhaps we can take comfort in the possibility that no matter how bad things get, Henry Fonda’s unforgettable embodiment of Tom Joad will “…be there, all around, in the dark.” Ford followed up with the Oscar-winning How Green Was My Valley (1941) another drama about a working class family (set in a Welsh mining town).
Harlan County, USA – Barbara Kopple’s award-winning film is not only an extraordinary document about an acrimonious coal miner’s strike in Harlan County, Kentucky in 1973, but is one of the best American documentaries ever made. Kopple’s film has everything that you look for in any great work of cinema: drama, conflict, suspense, tragedy, and redemption. Kopple and crew are so deeply embedded that you may involuntarily duck during a harrowing scene where a company-hired thug fires a round directly toward the camera operator (it’s a wonder the filmmakers lived to tell this tale).
Last Train Home – This absorbing, beautifully photographed documentary by Chinese-Canadian filmmaker Lixin Fan centers on the Zhang family: Changhua (dad), Suqin (mom), their 17 year old daughter Qin, and their young son. Changhua and Suqin are two of the 130 million migrant workers who crowd China’s train depots and bus stations every spring in a mass, lemming-like frenzy to get back to their rural villages in time for New Year’s holiday. And like many of those workers, these are the few precious days they have per year to see their children, who, due to the fact that their parents lack urban residency status, do not qualify to attend the public schools in the cities where they work.
Changhua and Suqin toil away their days in the city of Guangzhou, working in a factory. Early on in the film, a wordless sequence, wherein we watch the couple performing their evening ablutions before turning in for the night, speaks volumes about the joyless drudgery and quiet desperation of their daily life. They appear to be bunking in a closet-sized cubicle (with only a curtain for privacy) within some kind of communal flophouse (possibly adjacent to, or perhaps part of, their factory building-which is an even more depressing thought). One colorless day blends into the next.
The only break in the monotony comes when the New Year arrives, and the couple attempt to make their way home in time-and I have to say, this is as far from a madcap John Hughes romp starring Steve Martin and John Candy that you can possibly get.
The director was given an amazing degree of latitude by the family in filming their lives; to the point of feeling almost too close for comfort at times (especially during an intense family row that gets physical). As difficult as some of it is to watch, however, the end result is an engrossing portrait of what happens in a country like China, which has seen so much rapid industrialization and exponential economic growth in such a relatively short period of time that the infrastructure and social policies have fallen light years behind.
And the saddest (and most ironic) part is that the millions of working poor like the Zhangs, who made the country’s new prosperity possible, are in no position to benefit from it. Although…when you think about it, that scenario is not exclusive to China. (Full review)
Made in Bangladesh – “Repeat after me,” a union organizer directs a roomful of female garment workers in a key scene from writer-director Rubaiyat Hossain’s 2020 docu-drama: “Worker’s rights are human rights… [And] women’s rights are human rights.” Through a First World lens this dialog may appear a bit heavy-handed, but the sad fact remains there are still places in this world where these truths are not necessarily held to be self-evident.
The central character is a headstrong 23 year-old named Shimu (Rikita Nandini Shimu). To avoid a forced child marriage, she fled her home village when she was a pre-teen and now lives in Dhaka with her husband of choice Reza (Shatabdi Wadud). Like many young women in the capital, Shimu has found gainful employment in the garment industry. That is not to say she has a dream job; in point of fact she works in a sweatshop.
In addition to putting up with the low wages, long hours, unsafe conditions and spotty overtime compensation Shimu and her fellow workers regularly face sexual harassment, workplace intimidation, and all the other systemic maladies of a patriarchal society. Still, it’s a paycheck; with her husband chronically unemployed, somebody has to pay the rent.
After an explosion and fire kills a fellow employee, Shimu is approached by an investigative journalist, who after hearing her account of working conditions steers her to a local union organizer (Shahana Goswami). Shimu embarks on a mission to unionize her factory. With obstacles at every turn (including at home) she has her work cut out for her.
While it is a familiar narrative (especially if you have seen Norma Rae, a film the director has cited as an inspiration, along with the real-life story of a woman named Daliya Akhter who is a factory worker and union leader) Hossain offers us a 21st Century feminist heroine who challenges the stereotype of the subservient Muslim woman and reminds us that the final chapter in the struggle for worker’s rights is yet to be written.
Made in Dagenham – Based on a true story, this 2011 film (directed by Nigel Cole and written by William Ivory) stars Sally Hawkins as Rita O’Grady, a working mum employed at the Dagenham, England Ford plant in 1968. She worked in a run-down, segregated section of the plant where 187 female machinists toiled away for a fraction of what male employees were paid; the company justified the inequity by classifying female workers as “unskilled labor”.
Encouraged by her empathetic shop steward (Bob Hoskins), the initially reticent Rita finds her “voice” and surprises family, co-workers and herself with a formidable ability to rally the troops and affect real change. An engaging ensemble piece with a standout supporting performance by Miranda Richardson as a government minister.
Matewan – This well-acted, handsomely mounted drama by John Sayles serves as a sobering reminder that much blood was spilled to lay the foundation for the labor laws we take for granted in the modern workplace. Based on a true story, it is set during the 1920s, in West Virginia. Chris Cooper plays an outsider labor organizer who becomes embroiled in a conflict between coal company thugs and fed up miners trying to unionize.
Sayles delivers a compelling narrative, rich in characterizations and steeped in verisimilitude (beautifully shot by Haskell Wexler). Fine ensemble work from a top notch cast that includes David Strathairn, Mary McDonnell, James Earl Jones, Joe Grifasi, Jane Alexander, Gordon Clapp, and Will Oldham. The film is also notable for its well-curated Americana soundtrack.
Modern Times – Charlie Chaplin’s 1936 masterpiece about man vs. automation has aged well. This probably has everything to do with his embodiment of the Everyman. Although referred to as his “last silent film”, it’s not 100% so. A bit of (sung) gibberish aside, there’s no dialogue, but Chaplin finds ingenious ways to work in lines (via technological devices). In fact, his use of sound effects in this film is unparalleled, particularly in a classic sequence where Chaplin, a hapless assembly line worker, literally ends up “part of the machine”. Paulette Goddard (then Mrs. Chaplin) is on board for the pathos. Brilliant, hilarious and prescient.
Next Sohee – Writer-director July Jung’s outstanding 2023 film is reminiscent of Kurosawa’s High and Low, not just in the sense that it is equal parts police procedural and social drama, but that it contains a meticulously layered narrative that has (to paraphrase something Stanley Kubrick once said of his own work) “…a slow start, the start that goes under the audience’s skin and involves them so that they can appreciate grace notes and soft tones and don’t have to be pounded over the head with plot points and suspense hooks.”
The first half of the film tells the story of a high school student who is placed into a mandatory “externship” at a call center by one of her teachers. Suffice it to say her workplace is a prime example as to why labor laws exist (they do have them in South Korea-but exploitative companies always find loopholes).
When the outgoing and headstrong young woman commits suicide, a female police detective is assigned to the case. The trajectory of her investigation takes up the second half of the film. The deeper she digs, the more insidious the implications…and this begins to step on lot of toes, including her superiors in the department. Jung draws parallels between the stories of the student and the detective investigating her death; both are assertive, principled women with the odds stacked against them. Ultimately, they’re tilting at windmills in a society driven by systemic corruption, predatory capitalism, and a patriarchal hierarchy.
Norma Rae – Martin Ritt’s 1979 film about a minimum-wage textile worker (Sally Field) turned union activist helped launch what I refer to as the “Whistle-blowing Working Mom” genre (Silkwood, Erin Brockovich, etc).
Field gives an outstanding performance (and deservedly picked up a Best Actress Oscar) as the eponymous heroine who gets fired up by a passionate labor organizer from NYC (Ron Leibman, in his best role). Inspiring and empowering, bolstered by a fine screenplay (by Irving Ravetch and Harriet Frank, Jr.) and a great supporting cast that includes Beau Bridges, Pat Hingle and Barbara Baxley.
The Old Oak – The bookend of a triptych of working-class dramas set in Northeast England (preceded by I, Daniel Blake in 2016 and Sorry We Missed You! in 2019), Ken Loach’s 2024 drama marks the 87-year-old director’s 28th film.
The story (scripted by Paul Laverty) is set in 2016, in an unnamed “pit town” on the Northeast coast of England, and centers on TJ (Dave Turner), who is barely making ends meet as the owner and proprietor of The Old Oak pub. He inherited the pub from his late mother, who had invested in the property with the settlement money she had received after TJ’s father died in a mining accident. TJ himself began working in the local mine just before a major strike in the mid-80s. After the mine closed, he threw himself into community organizing. Depressed over a broken marriage, he’s become more withdrawn in recent years.
TJ was born and raised in the village, so he’s known the pub’s hardcore regulars since his school days. Many of them worked alongside TJ in the mine, and are suffering similar economic hardships, living off modest pensions or on the dole. You get the impression daily life for the town’s residents has become predictably drab; a reliable disappointment. In addition to providing a cozy space where they can toss back a pint or two and forget their problems, The Old Oak has become the de facto community center.
One day, a busload of Syrian refugees appears and disembarks in the center of town. Unfortunately, not all the locals appear willing to roll out the welcome wagon. When xenophobic catcalling escalates into a scuffle that results in a young Syrian woman’s camera getting damaged, TJ intervenes and defuses the situation. TJ learns that Yara (Ebla Mari) has picked up her English skills from working as a volunteer in a refugee camp in Jordan. The camera is her most prized possession, as it was given to her by her father, who is imprisoned back in Syria. TJ and Yara strike up a friendship that fuels the heart of the narrative.
The Old Oak is rife with Loach’s trademarks; not the least of which is giving his cast plenty of room to breathe. The entire ensemble (which ranges from first-time film actors to veteran players) delivers relatable, naturalistic performances. Hovering somewhere between Do the Right Thing and Ikuru, The Old Oak is raw, uncompromising, and genuinely moving (so rare at the multiplex nowadays), with an uplifting message of hope and reconciliation. If this is indeed its director’s swan song-what a lovely, compassionate note to go out on. (Full review)
On the Waterfront – “It wuz you, Chahlee.” The betrayal! And the pain. It’s all there on Marlon Brando’s face as he delivers one of the most oft-quoted monologues in cinema history. Brando leads an exemplary cast that includes Rod Steiger, Lee J. Cobb, Karl Malden and Eva Marie Saint in this absorbing portrait of a New York dock worker who takes a virtual one-man stand against a powerful and corrupt union official. The trifecta of Brando’s iconic performance, Elia Kazan’s direction, and Budd Schulberg’s well-constructed screenplay adds up to one of the finest American social dramas of the 1950s.
Roger and Me – While our favorite lib’rul agitprop director has made a number of films addressing the travails of wage slaves and ever-appalling indifference of the corporate masters who grow fat off their labors, Michael Moore’s low-budget 1989 debut film remains his best (and is on the list of the top 25 highest-grossing docs of all time).
Moore may have not been the only resident of Flint, Michigan scratching his head over GM’s local plant shutdown in the midst of record profits for the company, but he was the one with the chutzpah (and a camera crew) to make a beeline straight to the top to demand an explanation. His target? GM’s chairman, Roger Smith. Does he bag him? Watch it and find out. An insightful portrait of working class America that, like most of his subsequent films, can be at once harrowing and hilarious, yet hopeful and humanistic.
Silkwood– The tagline for this 1983 film was intriguing: “On November 13th, 1974, Karen Silkwood, an employee of a nuclear facility, left to meet with a reporter from the New York Times. She never got there.” One might expect a riveting conspiracy thriller to ensue; however what director Mike Nichols and screenwriters Nora Ephron and Alice Arden do deliver is an absorbing character study of an ordinary working-class woman who performed an act of extraordinary courage which may have led to her untimely demise.
Meryl Streep delivers a typically masterful performance as Silkwood, who worked as a chemical tech at an Oklahoma facility that manufactured plutonium pellets for nuclear reactor fuel rods. On behalf of her union (and based on her own observations) Silkwood testified before the AEC in 1974, blowing the whistle on health and safety issues at her plant. Shortly afterwards, she tested positive for an unusually high level of plutonium contamination. Silkwood alleged malicious payback from her employers, while they countered that she had engineered the scenario herself.
Later that year, on the last night of her life, she was in fact on her way to meeting with a Times reporter, armed with documentation to back her claims, when she was killed after her car ran off the road. Nichols stays neutral on the conspiratorial whispers; but still delivers the goods, thanks in no small part to his exemplary cast, including Kurt Russell (as Silkwood’s husband), and Cher (who garnered critical raves and a Golden Globe) as their housemate.
Sullivan’s Travels — A deft mash-up of romantic screwball comedy, Hollywood satire, road movie and class warfare drama from writer-director Preston Sturges.
Joel McCrea is pitch-perfect as a director of goofy populist comedies who yearns to make a “meaningful” film. Racked with guilt about the comfortable bubble his Hollywood success has afforded him and determined to learn firsthand how the other half lives, he hits the road with no money in his pocket and masquerades as a railroad tramp (to the chagrin of his handlers).
He is joined along the way by an aspiring actress (Veronica Lake, in one of her best comic performances). His voluntary crash-course in “social realism” turns into much more than he had originally bargained for. Lake and McCrea have wonderful chemistry. Many decades later, the Coen Brothers co-opted the title of the fictional “film within the film” here: O Brother, Where Art Thou?
Working Man – Even during “normal” times, losing a job can be traumatic; especially for career employees in traditional blue-collar manufacturing jobs who get blindsided by unexpected factory shutdowns. Such is the lot of the Every Man protagonist in writer-director Robert Jury’s 2020 drama.
His name is Allery Parkes (Peter Gerety). Allery has been working at the same factory most of his adult life, living quietly with his devoted wife Iola (Talia Shire) in a small (unidentified) rust belt town (maybe in Illinois). As the film opens, Allery wearily un-crumples himself from his bed in the manner that weary elderly folks do. He goes through his morning ablutions, slaps together a Braunschweiger sandwich on white bread (no condiments), nods goodbye to his wife and dutifully sets off on his morning walk to work, replete with thermos and lunch pail.
Not unlike Allery himself, who not so much walks as waddles due to his time-worn hips, this is a town obviously on its last legs. Abandoned buildings abound, many adorned with “for lease by owner” signs. Allery works at a factory that manufactures plastic…widgets?
Sadly, the factory is closing, and this is to be the last shift for Allery and his co-workers. They are instructed to knock off early, line up for final paychecks, then sent off on their (not so) merry way. However, Allery is determined to finish out his full shift, to the chagrin of his supervisor-who nonetheless understands the gesture and lets Allery exit the stage with dignity intact.
Without giving too much away, suffice it to say that while the factory has shut down, Allery is not ready to rest on his laurels. One day (to the puzzlement and concern of his wife and neighbors) Allery sets off as he has for decades, thermos and lunch pail in hand.
What’s he up to? As this was the last operating factory in town…where is Allery headed?
For that matter, with 90 minutes more to fill-where is this story headed? I’m not telling.
For those who may currently find themselves in a situation like Allery’s, the film may deliver a shot in the arm that they could use right about now; perhaps a glimmer of hope that all is not lost, that this too shall soon pass …or at the very least, an affirmation of the dignity of work.
