That genuinely political labor films are rare in
proportion to the issue's impact on American life may have
something to do with Hollywood's belief that escapsims is what we
crave most. But more likely it is because honest, serious and
provocative material about the lives of the working class is not
calculated to please the capitalists who finance movies or their
most desired demographics. What then to make of Blue Collar?
The directorial debut by Taxi Driver
screenwriter Paul Schrader explores life on the Detroit auto
assembly lines, focusing on the plight of three workers played by
Harvey Keitel, Yaphet Kotto, and Richard Pryor, who gives his
best feature-film performance in his only dramatic role. The
three men at the center of the film lead lives marked by low
wages and large debts, lives where the plant, as Pryor's
character says at a union meeting, seems short for plantation.
Where Blue Collar differs from
other labor films, from Salt of the Earth to Norma Rae
to Matewan, is that it is not a pro-union film. The union
depicted here seems indifferent and ineffectual at first, but as
the film progresses the extent of union corruption and complicity
in maintaining the status quo is revealed. Blue Collar's
only allegiance is to the worker, but it refuses to romanticize
even him. The men in this film do drugs, cheat on their wives,
and commit crimes. They're desperate -- desperate to stay alive,
physically and spiritually. As systemic forces from the company
to the union to the government conspire to divide them, the film
conjures a mood of both anger and despair. No Hollywood ending
here. Blue Collar is not liberal in tone or perspective,
it is radical. That it got made by a major American filmmaker
with prominent actors is surprising. That it is little know today
is not.
--Chris Herrington
Other Films by Paul Schrader
Affliction 
Touch 
Film Vault Suggested Links
In the Company of Men 
The Twilight of the Golds 
Higher Learning 
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