Racket dans la couture

The struggle for the worker to get a decent living wage with a few benefits has been removed from the consciousness of the proletariat since Ronald Reagan broke the ATC union in the eighties. Since then the populace has been persuaded into believing that the worker is best left to the trickle down generosity of the employer.

This film is a throwback to that struggle and has a message packed with a powerhouse persona of greed, violence, and suppression. It utilizes realistic on location street photography to give a hard boiled and bitter verisimilitude. There are other flashes of "realism" not usually found in typical Hollywood films.

Some very slick indoor photography and gripping performances throughout deliver this expose in a package marked "stay out of it, or its your baby's legs next". Tough stuff for the conservative, establishment, 1950's.

Writer/producer Harry Kleiner (Bullitt '68) obviously wanted to expose the shocking criminal involvement within the Garment trade but was trying to achieve it on a budget that was lacking. Columbia at the time had several new stars under contract and wanted to give them exposure in this picture - some were definitely up to the task; Gia Scala who went on to star in 'The Guns of Navarone' in '61, Sadly, a few years later would be found dead at age 38 under suspicious circumstances. Award-winner Robert Loggia ('Big' 88), went on to grace many movies with solid performances. Both were well cast emotionally convincing performer's. Maybe the weakest link was pretty boy, Kerwin Mathews -playing Lee.J.cobb's son. He would make a handful of movies then gradually fade out. Cinematographer Joseph Biroc ('Hush Hush Sweet Charlotte' 64) supplies the moody B/W photography.

This picture attempts to equal 'On the Waterfront' in its revelations about Unions and Protection rackets, this time within the clothing business but directors Vincent Sherman/Robert Aldrich were no match for Elia Kazan - and the budget needed to be larger. In spite of these limitations, the story is strong and well-intended and carries interest to the finale, that is, up to a pat, tacked-on ending that tries to wrap it all up in seconds. Good as a B - but could have been a fine A.

The new Bluray disc has been taken from a clean negative and sound is good but image is a bit darkish, if a good DVD can be located might be better.

I'm in total agreement with the other reviewers here. This is a sharply-made film about a battle at a garment factory over unionization with terrific performances from Lee J. Cobb, a young Robert Loggia, and a menacing Richard Boone as a union buster. Kerwin Mathews gives only a passable lead performance, but then again his novice acting sort of fits his role as an outsider, which was necessary to give the audience a view of the garment industry from an outsider's perspective. Whether or not one scene or another was directed by Sherman or Aldrich makes little difference - the movie fits together fantastically, and has aged quite well. This movie would make a fine contrast to Paul Schrader's excellent 1978 expose movie "Blue Collar", which took an opposing negative view of the union.

In New York City's garment district, women's dress manufacturer Lee J. Cobb (as Walter Mitchell) argues against allowing employees to join a union. His longtime business partner supports the union and is rewarded with an unfortunate accident. Garment workers who join unions are threatened with a shortened life expediency. This is why Mr. Cobb tells his handsome young son Kerwin Mathews (as Alan Mitchell), back in the US after several years overseas, to look at other employment opportunities. Formerly estranged, Mr. Mathews insists on joining the family business. Mathews soon discovers "Roxton Fashions" is tied up in deadly "protection" from mobster terrorist Richard Boone (as Artie Ravidge) and his goons...

Writer-producer Harry Kleiner reportedly changed directors, from Robert Aldrich, to Vincent Sherman, which may be why this interesting drama doesn't live up to its potential. He does get great black-and-white photography (by Joseph Biroc) and a fine cast. Cobb starts out strong, but confusingly becomes a supporting player. In his best moments, Cobb channels his "On the Waterfront" (1954) role. His character otherwise wavers between indistinct and naive. Consequently, girlfriend Valerie French (as Lee Hackett) gets very little to do. Leading man Matthews receives lackluster introductory scenes, upstaged by Cobb and women who are stripped to their underwear. Mathews gets stronger, but seems left to his own devices...

The real female lead is Gia Scala (as Theresa), as the wife of union organizer Robert Loggia (as Tulio Renata). While also good, she loses spontaneity. One of Mathews and Scala's most memorable scenes is a good example. On a pivotal evening, Matthews, Ms. Scala and her baby stop at a bar. She unbuttons her shirt to breast-feed the baby, but moves to another booth for privacy. After however many rehearsals and retakes, you still have to move around the booths like it's the first time. It's a fine scene, but could have been better. There are also jagged moments; a man enters a room too suddenly, for example, and a banister shakes like it's a prop. While the flaws stand out, much of "The Garment Jungle" fits nicely.

****** The Garment Jungle (1957-04-25) Vincent Sherman ~ Kerwin Mathews, Lee J. Cobb, Gia Scala, Richard Boone

Certainly among the lesser-known 50's racket-noirs (even many inferior are more discussed and collected), this one hits hard, looks good and has the unmistakable touch of prime-era Aldrich, though it was only partially done by him. Frequent cinematography collaborator Joe Biroc puts the stamp on that ensures a vivid look at a harsh story.

The cast is uniformly good, with Cobb leading in one of his best performances. The blending of two directors' work here unusually doesn't detract from the impact of this one. Look for it on television, or the hard-to-find, out-of-print video, whenever possible.