Harlan County USA is a record of the Brookside coal miners’ strike in south-eastern Kentucky, historically one of the most deprived and poverty-stricken corners of America.
The film, which is available on YouTube and runs for 103 minutes, is remarkable for a number of reasons. The first is that it was made by a small independent crew from New York led by producer-director Barbara Kopple. That an absolute outsider – a big-city, university-educated Northerner – was able to win the confidence of the miners in this isolated, insular, oppressed Appalachian community, and be granted access to the intimate detail of their lives, was extraordinary in itself.
More striking still is that the film has no narration, only a few brief excerpts from interviews, and a loose, almost anarchic structure. A couple of explanatory captions at the start lay the groundwork and set you on your way, but after that you’re on your own. Viewers have to construct their own narrative from what they see unfolding on screen and from the dialogue of the participants.
This isn’t always easy, because the southern accents are not easy to understand and people constantly talk across each other, just as in real life. This is classic cinema verite – capturing things as they are, with no filmmaker interference beyond the camera’s presence.
What gradually emerges is a compelling and sympathetic picture of an impoverished but proud community that refuses to bow down to far more powerful forces.
Harlan County USA reinforces some of the darkest stereotypes about the American South. A brooding air of menace hangs over the thickly wooded valley where the action unfolds. It’s not hard to imagine that a decade earlier, the sinister-looking convoys of pickup trucks and battered Detroit V8 sedans that force their way through the picket lines might have carried Ku Klux Klan vigilantes hunting for civil rights activists. (The participants in the Brookside strike, incidentally, are almost all white.)
This being America, we meet some scarily repugnant figures who could have stepped straight from the pages of a novel. One is the leader of the local strike-breakers, who wears an expression of pure unadulterated hate and fingers a semi-concealed pistol as if nothing would give him greater pleasure than to use it.
Then there’s the almost charismatically grotesque Tony Boyle, president of the United Mine Workers of America. In a sub-plot to the main narrative, Boyle is challenged for his job by a union faction that thinks he’s too friendly with the mine companies. His main rival is subsequently found shot dead in his home, along with his wife and daughter. Boyle is convicted of conspiracy to murder and spends the rest of his life in prison, where he died in 1985. (Kopple originally set out to make a documentary about the attempt to unseat Boyle but got sidetracked when she stumbled across the Brookside strike.)
Some things are inferred in the film rather than overt. The director resists any temptation to sensationalise, dramatise or even spell out what’s happening on screen, leaving it to the viewer to figure out what’s going on. And sometimes things occur with such shocking suddenness – as when we learn a young miner has been fatally shot – that you ask yourself: did that really just happen? (The footage of his funeral, where his mother collapses from grief, is a hard watch.)
Two other features of Harlan County USA are worth mentioning. One is the musical score, which draws heavily on the “high, lonesome” bluegrass sound characteristic of that part of Appalachia. The songs of Hazel Dickens, in particular, grew out of the privations and injustices of life in a company-run mining town. Titles such as Black Lung and Cold Blooded Murder speak for themselves. The union anthem Which Side Are You On? is here too and has particular resonance because it was written during a miners’ strike in Harlan County 40 years earlier.
Even more noteworthy is that some of the most formidable and articulate characters on the miners’ side are their wives. When some of the men show signs of wavering (the strike went on for more than a year), it’s the women who stand firm.
In the end, the violent death of the young miner helps bring the union and the mine owners together. A contract is signed and the men go back to work. But there’s no sense of elation and as the postscripts run over the closing credits, you’re left wondering how much, if anything, has really changed.