Slim - Ein Mann will hoch hinaus

I'm not a film critic, but I am a lineman. This film was an excellent example of the lifestyle lived by linemen, even in today's times. In regards to the comments made by "planktonrules", there is no explanation as to why Slim wants to be a lineman, it's a matter of heart. You have it or you don't. Henry Fonda managed to convey this quite well. I do admit the character of Slim is a bit too innocent, but seems appropriate for the background. And yes, for the record, rarely does anyone use true names, mostly nicknames given to you by those who have been there before you. This is a brotherhood, which is well expressed in this film. We wish there were more films like this about linemen.

Running a mere 80 minutes, this little treasure packs in more action and character development than you're likely to find in some of Sly's and Arnold's big-budget blockbusters. A personal favorite of Fonda's, it's the story of a farmer's young son (he even plows the family's 40 acres behind a mule!) who leaves the farm to join a gang of linemen doing the grand task of electrifying rural America during the Great Depression. It's hard to believe, but historical fact, that prior to WWII, 75% of all Americans lived on the farm without electric power. Taken under the wing of mentor Red Blayde (Pat O'Brien), the boy Slim (Fonda) learns about life and love, honor and betrayal, and most of all, the nobility of a man's work, in the days when work itself was regarded as a higher value than just the pay check it brought in. Little moments stand out: Slim lighting up his first nickel cheroot; writing his Mom a letter home and including a $5 bill; leaning back in the passenger seat of Red's convertible as they ride down Chicago's Michigan Avenue, looking up in awe and sheer joy at his first glimpse of a big city. "Take a good look," says Red, "there's only two other cities like it in the country!" Rounding out the cast are Stu Erwin as Stumpy, the lazy and comical ground worker; Joe Sawyer, the "lyin' goldbrikkuh;" a glamorous Jane Wyman as Red's girl; always cheerful Margaret Lyndsey as the nurse who takes a shine to Slim; and stalwart John Littel as the company boss. From a top-notch novel (1934) by William Wister Haines, author of "High Tension," "Command Decision," "The Hon. Rocky Slade," and many others. Ten out of ten.

Warner Brothers did this kind of taut,tart blue collar movie better than any other studio and while Slim is not the studio at its absolute peak of performance it is a pretty good piece of lean and crisp movie making .

Slim -played with conviction by Henry Fonda -is a farm boy who yearns to work as a lineman on the big electrical projects then going ahead , under the auspices of the New Deal ,The opening sequence indeed is a quasi-documentary complete with solemn and sententious narrative that is a virtual commercial for Mr Roosevelt's public works agenda and which loudly hymns the role of the electrical industry in modern life He badgers Pop Travers (J Farrell MacDonald)to give him a trial and he is taken under the wing of the most respected of the lineman ,Red(Pat O'Brien).They become friends as well as mentor and protégé ,a factor cemented when Slim comes to Red's rescue as he is being fleeced by a crooked card sharp.They become partners and Red introduces Slim to his girlfriend ,a nurse Cathy (Margaret Lindsay)who is despairing of Red's nomadic lifestyle and longs to see him settle down to domesticity..Gradually a relationship develops between Slim and Cathy .The movie builds to a climax on a job site during a major blizzard .

The movie is well acted and Ray Enright brings forthright energy to its direction .Special mention to Stewrat Erwin as the garrulous Stumpy -a veteran ground worker on the sites and to Jane Wyman making an early appearance as his girlfriend This is efficient and unpretentious studio film making at very n ear its best

"Slim" is a gritty film that depicts superbly the profession of a linemen. As far as I know, there's no other film that looks at this trade any more than passing. For that reason, it has some cultural and historical value. The movie itself is a drama based on a 1934 novel of the same title by William Haines. It is also a romance, but that clearly is secondary to the film's depiction of the profession of the linemen.

The title also describes very well the character that Henry Fonda plays in this movie. The lanky Fonda was just 32 years old and in the kind of physical shape yet that it would take to be playing a lineman. In this case, it's specifically about the pole climbers. These are men (and perhaps an occasional woman in modern times) who have worked to erect and keep wires up since the advent of telegraphy and electricity.

Linemen work in three different fields of business. The most prominent are those for electric utilities, as in this film. But others work for railroads and telephone companies. I worked one year as a lineman on a railroad signal crew and climbed poles to string and replace electric wires that connected and operated the train signals on the tracks. I later worked 20 years for one of the largest electric generation and transmission firms in the U. S., but not as a lineman. And, I never had any of the harrowing experiences or rough conditions the men in this movie experience. As to nicknames, it must truly be a tradition among linemen wherever they are. It was a long time ago for me, but I still remember some of the guys on the two signal crews I worked with. I also had a "Red" for a foreman, but I can't remember his real name. Another foreman was Wally, and a couple of the guys were Kansas and Speed (he had a souped up sports car).

Most utility poles through the mid-20th century were wood, coming from one of three species of trees. But the larger, high-voltage transmission lines (115-kilovolt and higher) were made of steel from early in the 20th century. Most of the poles in neighborhoods and telephone and signal lines along railroads and roadways are 40-foot to 60-foot in length, and still made of wood from very straight trees. The shorter poles are buried six feet, and the taller ones eight feet in the ground. Most of the poles that I climbed were in this range, although I did work on one project that required climbing 80-foot poles, which were buried 10 feet deep.

Any men who have worked on electric utility line crews, for the telephone companies of the old days, or as linemen in the signal department of a railroad, know the rigors of climbing and working at the top of poles. As shown in this film, the linemen used belts and climbing hooks. The latter are strapped to the legs and boots and dig into the wood. The belt enables the lineman to use his hands for work at the top of the pole, instead of having to hold onto the pole. For extra safety, some linemen will use their belt while climbing, sliding it up the pole with each step that they take up. It keeps one from falling backward if he should lose his grip climbing the pole. But, if a hook isn't set well - jabbed into the pole, and it slips out as he lifts himself up another notch, a lineman "rides" the pole down. That can result in broken legs and other injuries, and it's sure to include splinters from the pole.

In this film, Pat O'Brien plays Red Blayd, the "pro" lineman who takes Slim under his wing. The two become friends but also become two-thirds of a love triangle. Red's girlfriend, Cally (Margaret Lindsay) and Slim fall for each other. One might guess how this part of the plot will play out. But, it's something of a surprise to see how the story ends. This is a very good look at this small section of the working world. It was a sort of romantic way for a young man to work and help the country make progress and recover from the Great Depression. It makes a good setting for a drama with some excitement

All of the cast are very good. Among other supporting actors who may be recognized are Stuart Erin as Stumpy, Jane Wyman as Stumpy's Girl, Joe Sawyer as Wilcox and John Litel as Wyatt Ranstead.

Because I was a youngster and raised during the depression years,the movie "SLIM" has remained with me all my life. It was the first movie I had ever seen with Fonda and as far as I am concerned, every time I watch it now, it brings back all those childhood memories of the Great depression. It took me many years to finally watch it again and because I was able to make a copy of it, I now watch it quite frequently. I can only wonder why it is not presented more often or why it is never mentioned whenever his list of great films are mentioned. At this time I am 85 years young and I still consider Slim one of the real great films of Henry Fonda.