The Screengrab

Usually, the Screengrab's Take Five feature is inspired by some new release coming out the day we go to press.  However, sometimes, if the raft of new releases in relatively uninspiring or inappropriate, we go with a different sort of them, and since today is the start of Labor Day weekend, what better time to salute organized labor?  After all, some of us are union men ourselves (hey, the National Writer's Union is too a real union!  We're part of the United Auto Workers for some reason!); and what with the writer's strike earlier this year that brought the movie business to a near-halt, and the possibility of an actor's strike later in the year coming along to finish what the writer's strike started, America hasn't been this aware of what organized labor is up to in years!  Unfortunately, unless Vin Diesel's mercenary Thoorop in Babylon A.D. happens to be a dues-paying member of the International Brotherhood of Hired Killers & Machinegun Operators, there's no new released this holiday weekend that are even remotely about unions or the labor struggle.  But that doesn't mean we can't dip back into our video vaults and come up with five fine flicks about working-class struggle for your Labor Day enjoyment.  (And, as a special treat before you go back to work on Tuesday, take a few hours to watch Barbara Kopple's masterful Harlan County U.S.A., referenced in last week's Take Five.)  Happy Labor Day, readers!

MATEWAN (1987)

Possibly John Sayles' finest film, Matewan depicts -- with the heart of a union man and the eye of an artist -- the brutal struggle to unionize among the West Virginia coal miners of the 1920s, one of the bloodiest periods in the history of organized labor.  Based on the Matewan Massacre of 1920 and featuring breathtaking cinematography by Haskell Wexler, Matewan' s powerful story is bouyed by wall-to-wall terrific performances by Chris Cooper, David Strathairn, James Earl Jones, and a young Will Oldham, in his pre-rock star days.  Essential.

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Though we love movie-related lists as much as anybody -- indeed, as we love movie-related lists even more than anybody -- we've noticed a somewhat disturbing trend in the recent flood-tide of best-ofs: the documentary often gets the short shrift. Stuck somewhere between a feature film and an educational short, even with the new wave of populist docs that actually make money at the box office, doumentaries are rarely considered part of the mainstream corpus which gets shuffled around for various critics' Top Whatever lists, and thus, leave the average fan with no idea where to start when it comes to the medium.

That's something that Jonathan Kahana, a professor of cinema studies at NYU (and author of the recently released Intelligence Work:  The Politics of American Documentary) aims to change with this list.

Originally created as a feature for an in-flight magazine and later severely truncated (a process all to familiar to those of us who have tilled that particular soil), Kahana's list contains a dozen of the finest documentaries in history from the 1920s to the present, available on DVD and otherwise.  Compiled by the author to "pay it forward" to an upcoming generations of documentary fans, the list is a solid one -- we'll present it below in chronological order, but please do check out the link for Kahana's insightful commentary on each choice.

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SWEET SWEETBACK'S BAADASSSSS SONG (1971) & BAADASSSSS! (2003)



In 1971, director Melvin Van Peebles, sick of Hollywood’s portrayal of African Americans, risked everything to present his own version of the black experience where, according to his own manifesto for the project, “niggers could walk out standing tall instead of avoiding each other's eyes.” For White America, the most shocking aspect of Van Peebles’ film was the fact that its hero, falsely-accused murder suspect Sweetback (played by the director himself) not only escapes “The Man,” but also takes out a few white cops along the way and, in the final credits, offers the warning: “Watch out - a baad assss nigger is coming to collect some dues." Unlike the “can’t we all just get along” sentiment of the Civil Rights Movement, Van Peebles’ film dared to publicly acknowledge the black community’s righteous indignation after 300 years of mistreatment at the hands of Caucasians (a still-shocking sentiment, as evidenced by the media’s recent saturation bombing of Rev. Jeremiah Wright’s “God damn America!” soundbite), influencing everything from the blaxploitation genre that followed directly on the heels of Sweetback’s box office success to the politicized rap of N.W.A. and Public Enemy and Mookie’s controversial decision to hurl a garbage can through the window of Sal’s Pizzeria in Spike Lee’s iconic Do The Right Thing (1989). But (as the director’s son and Sweetback co-star, Mario, dramatized in his own 2003 biopic, BAADASSSSS!), Van Peebles was more a social crusader than a wild-eyed militant, providing opportunity and experience to minorities both in front of and behind the camera...plus, he gave Earth, Wind & Fire their first big break, which all by itself helped to make America (and the world) a slightly better place to be.

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