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Director Barbara Kopple's Oscar-winning rendering of a crippling strike at a Minnesota meat-packing plant may look dated, but the underlying theme of individuals crushed by big business remains all too timely. Using a briskly engrossing combination of first-person interviews, news broadcasts, and fly-on-the-wall encounters, Kopple creates an indelible document of a community's dissolution at the hands of larger forces. (The film is clearly on the side of the workers, but at the same time it refuses to ignore the petty infighting that eventually helped contribute to their ruin.) An alternately depressing, uplifting, and often profanely funny film that, at times, echoes Michael Moore's
Roger and Me , but without that movie's distancing smarm. A movie's title has never seemed quite so bitterly apt. The director, who had previously won an Oscar for the equally arresting
Harlan County USA, would later go on to document yet another traumatic event with Woody Allen's
Wild Man Blues.
--Andrew Wright
Barbara Kopple's documentary, about a strike in a Minnesota meatpacking plant, is a lucid and unfussy piece of movie journalism that manages to be as complexly affecting as a great novel. The story that she tells here is a terrifying one. The workers at the Austin, Minnesota, plant of Geo. A. Hormel & Company decide to go on strike on August 17, 1985, rather than accept a rollback of their wages and benefits. The union, Local P-9 of the United Food and Commercial Workers International Union, is led by a militant president, Jim Guyette, and a fiery freelance consultant, Ray Rogers. Together, Guyette and Rogers create a terrific spirit of energy and resolve in the rank and file. But Lewie Anderson, a veteran negotiator for the international union, thinks that their strategy is "doomed." As the strike wears on, our reactions to what we're seeing become more volatile. Our hearts are with the pumped-up rank and file of P-9, but our heads, increasingly (and surprisingly), are with the pragmatic Anderson: his anaylsis of the local's chances against the company proves accurate in virtually every particular. The defeat of the stubborn P-9ers is agonizing to watch, and we begin to realize that Kopple's apparently even tone has nothing to do with objectivity or resignation-that it is, rather, the exaggerated calm of deep shock, the voice of an eyewitness to a smashup on the highway. The movie embodies a kind of tragic understanding of American life-tragic in the original and the fullest sense, in which the spectacle of unspeakable calamity produces pity and terror and then an unforeseeable and penetrating clarity. This is a masterpiece of social art. Academy Award for best documentary in 1991. -Terrence Rafferty
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The New Yorker