Review #479: 'Salt of the Earth' (1954)

The propagation of fear of the "other", or the unknown, is a fervent device used by governments for the control of the masses (the population). In the 1940's and 1950's in the west (particularly the United States - and to a lesser extent the UK), the common object of fear was the spread of Communism. In 1947, this paranoia about the infiltration of socialist ideologies into US politics, culminated in the organisation of HUAC (House Un-American Activities Committee), which began a witch hunt for any persons involving themselves (allegedly) in Communist politics and ideas. Propaganda was in full swing by 1954, and the hunt was extended into the arts, particularly Hollywood - with its "Harbouring" of socialism - which led to the imprisonment of "The Hollywood Ten" which included the writers and filmmakers involved in the making of Salt of the Earth - which was inevitably blacklisted.

With a largely non-professional cast (only five were professionals), this neo-realist style film tells the story - based on real events - of a workers strike for equality of pay and conditions for American-Mexicans working in the Delaware Zinc mines in New Mexico. Told from the perspective of Esperanza Quintero (Rosaura Revueltas - one of the five actual actors), the film opens with a domestic scene and her narration, as she outlines their social conditions, and the small community. Her husband, Ramon (incredibly heartfelt performance by non-professional, Juan Chacon), signifies the "traditional" male, whose displays a reluctance for his wife to involve herself with nothing but the upkeep of the home, and the raising of their children (not a particularly revelatory experience in the 1950's).

After the failure of the men - bound by union restrictions - to successfully picket the mine, the women of the village take their places, creating a barrier to the entrance. This destabilises the workers union to begin with, and fundamentally disrupts the home life of Ramon and Esperanza - whose conventional roles are reversed, creating an emasculated man-of-the-house. The reactions of the mining management/owners leads to the arrest of all the women, which creates an even greater sense of solidarity between the women, and eventually (once they realise the importance of this strike) the men.

Within the context of this film, it is hard to believe in this day that this film (which perpetuates socialist ideas - Communist theories) was regarded as dangerous to the point of being blacklisted. However, what this part of history highlights is that these political ideas are simply dangerous to a hegemony of market power. That is, the fear of Communism (or socialism) is simply that it would - in theory - give equal rights and fair wages to the workers of any company or corporation. Of course, if socialism did spread, this would mean the obliteration of the free market economy that has so far simply created a greater divide of rich and poor in the West, and ultimately led to such incredible greed, and intrinsically creating the banking crisis of 2008.

With a strong cast of actors and locals, this film is both enlightening and emotionally mature. It is itself a piece of pure propaganda, but it skillfully emphasises the socialist ideal of equality. The film also raises some interesting feminist questions - a movement that didn't really become part of popular culture until the late '60's and '70's - and gravitates towards alternative social roles for women. It was of course ignored by the Hollywood system, but eventually found audiences within film schools and workers unions. A common reaction was astounding: The Hollywood Reporter (a trade magazine) made a bold and frivolous statement claiming that the film was made under the direct orders of the Kremlin. It is an incredibly important piece of social history, that is also successful as an interesting and entertaining slice of cinema.


Directed by: Herbert J. Biberman
Starring: Rosaura Revueltas, Will Geer, David Wolfe, Juan Chacón
Country: USA

Rating: ****

Marc Ivamy