Matewan (1987)

Have seen quite a few films recently, but it seems only appropriate to start with the best of them. Based on real life events, Matewan focuses on Chris Cooper's union man, Joe Kenehan, who visits the town of Matewan to support a group of coal miners in their dispute with the mining company that has long exploited them and their families. Naturally, Kenehan stirs up trouble, whilst managing to unite the various factions of minors (including the 'scabs' who initially take the place of the indigenous striking minors), and all hell breaks loose.

As readers of MyFilmVault will know, this is my kind of stuff. It's tough, taught and hard-edged, with a powerful social conscience in tow. Yet, as I always say, it's the characters, and the actors who portray them, which make this such compelling, impossible-to-look-away, fare.

Perhaps MyFilmVault needs to have another section in movie-years for other notable bits of excellence. For the first time I would genuinely like to nominate the ensemble cast of Matewan for a stunning all-round performance which gives the film all its compelling drama. They surpass all other casts in terms of what they provide as an ensemble. In short, there are no weak links. Cooper is excellent as the film's focal point, James Earl Jones is superb (though sadly underused) as the earthy, best-name-ever-list-topper, 'Few Clothes' Johnson, Mary McDonell is good as the (nicely) understated love interest, Will Oldham is good as the young, idealistic, preacher Danny, and Gordon Clapp and (Lost's) Kevin Tighe are suitably despicable as the bad guys and David Strathairn...well, you get the idea. A stunning cast and huge kudos to John Sayles for directing them so well. This is one of those films where you can just tell the chemistry is right and each scene flows delicately and subtly into the next like the river that meanders softly and naturally through the titular town.

Haskell Wexler was deservedly nominated for the cinematography and the pastel, light, shades hide a darker underbelly and a cutting social commentary on the nature of exploitation and poverty and yet, with that, some of the more positive things that can come out of them, togetherness, struggle and unity. A true testament to an excellent director, a truly stunning ensemble performance, and ideals we, at the beginning of this new millennium, might do well to revisit.

Highly recommended to all!

A