Il prezzo della libertà

While it was fun seeing "Cradle Will Rock" with my mother-in-law who had some memories of the time period, I also did a huge paper on the WPA Arts Projects in graduate school (I recommend Jerry Mangione's book on the Federal Writer's Project as a good introduction) and am quite familiar with the personalities and facts involved so was curious to see it as a docudrama.

But we plus my parents felt the film was too agit-prop and the 20% of it that's over-the-top (aw come on, Hearst -- "Citizen Kane" foreshadowing, Rockefeller and a steel magnate at a Versailles costume party at the climax?) weakens the historical telling of a confluence of happenings -- the strangulation of the Federal Theater Project as a precursor victim to McCarthyism through the Dies Committee (including actual testimony wherein Christopher Marlowe was accused of being a Commie, as were the classic Greek dramatists) and Nelson Rockefeller's benighted sponsorship and then destruction of the Diego Rivera murals at Rockefeller Center.

Effectively written and directed by Tim Robbins is how passionately political the artists were, not as "card carrying Communists" per se, but as committed anti-Fascists and unionists in every aspect of their personal lives--as equally committed as they were to the magic of the theater as a communication device.

It does go over the top (including Susan Sarandon as an elegant Jewish courier to Mussolini selling stolen Old Masters), it is effective to show how TPTB were sympathetic to and profited from alliances with the fascists and how much they hated That Cripple in the White House.

Amidst the politics, the art for art's sake oversize egos of John Houseman and Orson Welles are also well portrayed, if a shade as buffoons compared to the grimness of everyone else around them, most of whom needed these WPA jobs to keep from starving (there's a toss away line that barely explains that FDR had to throw the Theater Project to the wolves in order to save his whole alphabet soup of programs for the vast majority).

It's also a bit over the top in painting those who testified at the Committee as probably crazy, but who knows. The Vanessa Redgrave character is silly but I guess it's making a point that Radical Chic is not new.

The climax of the factual occurrence, the one and only original performance of Marc Blitzstein's "ThreePenny Opera"-inspired political musical "Cradle Will Rock" is a delightful recreation, and from what I've read, true to the real story. This is definitely a very un-1990's story.

(Additional recommended background reading: "Cultural Front: The Laboring of American Culture in the Twentieth Century" by Michael Denning (Verso, 1998, 556 pages)

(originally written 1/2/2000)

This is a classically written piece about the corruptability and compromises of politicians, businessmen and yes even artists. Tim Robbins is quickly becoming one of my favorite writers. I'll admit I had a hard time trying not to misinterpret the dialog, but at least the movie made me think. I also commend Robbins for tackling the hypocrisy involved in being an artist. It's slow, but give it a chance. By the end of this movie the levels and themes he's hitting on tie together very, very well.

Although ultraconservatives will undoubtedly dismiss `The Cradle Will Rock' as blatant leftwing propaganda, the rest of us will see it as a fascinating rumination on the intricate relationship that has always existed between politics and art. Writer/director Tim Robbins, whose left-leaning sympathies are common knowledge in the film industry, has managed to create a screenplay of amazing complexity and depth, functioning on an enormous number of levels - political, historical, aesthetic, personal - without ever losing clarity and focus. He has set up a dizzying array of characters, yet each one is fleshed out with enough depth and particularity to make him or her a vital part of the overall tapestry.

Set in the turbulent 1930's, Robbins' tale focuses on the National Theatre Company, an organization set up by Roosevelt during the Depression to provide out-of-work artists a vehicle through which to ply their trade and culture-starved audiences a chance to revel in the glories of live theatrical performances. Unfortunately, it was also a time of great civil and political upheaval, with Communism and Fascism battling for supremacy abroad and many Americans divided along similar lines in their loyalties. With passions running deep, it was only a matter of time before many in the United States Congress began suspecting the NTC of Communist sympathizing - and it was a short road from there to the eventual dismemberment of the organization. The film centers on the production of a controversial musical play called `The Cradle Will Rock' that portrays the glorious coming of unionism to a steel factory, a scenario that parallels the events in the lives of several of the characters in the film.

Given this fascinating historical background, Robbins has filled his film with a rich assortment of characters, from Orson Welles, as a fledgling young actor who sees unions as the ruination of artistic purity, to Nelson Rockefeller, as a well-meaning art patron who balks at the mural Diego Rivera has painted for him only after Rivera refuses to remove the image of Lenin from Rockefeller's monument-to-capitalism lobby. In fact, the cast of characters is so enormous, with each one taking a crucial part in the narrative proceedings, that it is quite impossible to mention them all here. Suffice it to say that Robbins covers the social spectrum from industrialists and capitalists to union workers and the unemployed, from sympathetic patrons and patronesses to the little people eager to root out the seeds of Communism even at the expense of their own ostracism. And not a one is uninteresting.

Robbins has assembled an all-star cast that reads like a who's who of contemporary movie acting (albeit of a non-blockbuster variety). Although at the beginning of the film, the casting of such familiar faces seems a bit disconcerting - leading to what critic Judith Crist refers to as the `hey there' syndrome, i.e. destroying the verisimilitude of a work by parading too many recognizable people before the camera - this technique actually helps the audience to differentiate the many characters who might otherwise pass by in a confusing and disorienting blur. Hank Azaria, Ruben Blades, John Cusack, Joan Cusack, Cary Elwes, Bill Murray, Vanessa Redgrave, Susan Sarandon, John Turturro and Emily Watson comprise this truly fine cast.

Liberal as his leanings might be, Robbins is able to focus on the bitter ironies that abound on both sides of the political spectrum. For instance, while Susan Sarandon portrays a Jewish ally of Mussolini, abandoning her pro-worker principles to act as his capitalist representative in the States, Ruben Blades plays a Diego Rivera who has subordinated - if only temporarily - his own revolutionary ethos to the power of the almighty buck. Also, there is a certain paradox to the fact that, when the government has decreed the theater closed and thereby forbidden the premiere performance of the play, it is the actors' UNION that threatens the performers with firing if they carry out their plan to stage it furtively. Robbins is even somewhat evenhanded in his treatment of the `enemy' - the rich capitalists and the anti-communist members of the theatre organization - portraying them with good-natured humor and pathos. Joan Cusack, as a clerk at the employment office and Bill Murray, as a vaudeville ventriloquist, seem like decent people, only hopelessly misguided and lonely. (Unfortunately, Murray's sudden change of heart at the end seems inexplicable and unmotivated). As for the elite in the story, Robbins does a lovely job of spoofery at the end of the film; as the play is finally being performed at a nearby theatre - representing the triumph both on stage and in the world at large of the common man over the oppressive tyrants of industry - the tycoons, dressed in masquerade ball costumes of the 18th Century aristocracy and Catholic hierarchy, mull over their plans to retain control of the art world by bankrolling only those paintings depicting the scenes of utmost blandness and banality. Thus, these men of corporate power are portrayed more as amusingly quaint pests than malevolent or malicious despots.

There is certainly no denying that `The Cradle Will Rock' is, at heart, a bit of a leftwing diatribe. However, it is not a cruel or unreasonable one. And Tim Robbins' extraordinary skills as both a storyteller and filmmaker make this clearly one of the most interesting and impressive films of 1999.

This may suffer from having a few too many plot lines and characters (Emily Watson, for example, is a role too far), but most of what's there is excellent. Bill Murray is as good as he has been recently in Rushmore and Lost in Translation, and the Cusacks are at their best. This is a film that lingers with you after you've seen it, and gives a fascinating insight into a turbulent time.

Cradle Will Rock has everything I like in a movie - great characters, humor, suspense, depth, and music. The many subplots are woven together in perfect balance, leaving you wanting more of everything at the end, even though the film is over two hours.

The acting is excellent all around, especially Cherry Jones' portrayal of Hallie Flanagan, the head of the Federal Theater. Ruben Blades and Angus MacFadyen give us Diego Rivera and Orson Welles, respectively, and do not disappoint. It's rare to see so many charismatic, likeable people in a movie with a real story. There is no one star of the film - everyone is sharing the spotlight equally. Tim Robbins has really done a magnificent job of putting all the pieces in the right places.

And perhaps best of all, this is a film with real controversy - one that will get you thinking about art and politics and unions and the influence of money on everything. Cradle Will Rock is such an ambitious piece of work, it could have failed in so many different ways, and yet it succeeds on every level. Check it out.