Most children learn in their U.S. History class that Franklin Delano Roosevelt was a great President. How many are also taught that there was a very vocal minority who were completely opposed to Roosevelt's New Deal, declaring him a Socialist intent upon destroying the very fabric into which our great land was woven?
The rich and powerful leaders of industry and politics believed that Roosevelt's New Deal smacked of socialist leanings and were happy to partake of a means to undermine his goals by attacking the WPA, specifically, the Federal Theater program. THE CRADLE WILL ROCK attempts to put the spotlight on a very brief moment in modern history when unionism, Communism, Fascism, and Capitalism collided in New York City during the Great Depression.
While average Americans struggled to put food on the table, deals were being made by American business leaders with Mussolini. While Roosevelt attempted to stop these dealings, Congress was questioning members of the Federal Theater program about their Communist leanings. While Nelson Rockefeller argued with Diego Rivera about the contents of the mural he was painting for the lobby of Rockefeller Center, Orson Welles and John Houseman were rehearsing THE CRADLE WILL ROCK, a musical, funded by the WPA, which pitted steelworkers and labor unions against steel mill owners.
How does one manage to fit all of this into a film lasting a little over two hours? Ala Robert Altman or even Alan Rudolph -- in other words, an ensemble piece, whereby the audience spends a little bit of time with each group and sees how characters act as "bridges" to the other groups. For example, we see rich industrialists wine and dine Mussolini's cultural attache (Susan Sarandon doing a pretty damned good Italian accent). Prior to selling her soul to Mussolini, she led quite a colorful life. She used to hang out with Diego Rivera (liberal artist group) in Paris and gives Nelson Rockefeller (rich industrialist group), played by John Cusack, tips on how to persuade Rivera (Ruben Blades) to paint a mural for the lobby of Rockefeller Center.
Another "bridge" character is played by Vanessa Redgrave, who is married to a wealthy steel man although her heart belongs to the arts. While he's agreeing to sell steel to Mussolini (via Susan Sarandon), she's stealing pianos so that Welles' troupe can perform their now banned musical at another theater.
There were some amusing characterizations portrayed here, especially the relationship between Orson Welles and John Houseman. By all accounts, the two got on as well as a mongoose and a cobra, with Welles convinced that Houseman was attracted to him and Houseman permanently irritated by Welles' pomposity. As these two are probably the only characters never to get on a political soapbox, I found them the best comic relief imaginable.
It's a clever, witty, propaganda film made for a very small audience. An audience who knows labor history, is politically active, and agrees with Mr. Robbins' views. Not that I disagree with his take on this slice from our past. Just that I hate being led there. This is, perhaps, my greatest complaint. The points being made are valid enough. Why did he feel that his audience couldn't figure it out for themselves?
Ultimately, this is the downfall of many who use art to make a political statement -- you risk being seen as an elitist who looks down on your audience as intellectually inferior and in need of your guidance. Which is ironic, as that is exactly what this film was supposed to be railing against. What I need now is a good John Sayles film to get this bitter taste out of my mouth.
As labor strikes break out throughout the country during the 1930's, the art & theater world of New York City is a growing cultural revolution.More at HotMovieSale.com
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