The Proud Valley

I caught this 1930's curiosity on an outlying PBS channel at 2 a.m.— thank goodness for recorders, otherwise 5 people probably saw it at that hour. In all my years of old movie watching, I don't recall Proud Valley being shown in big market LA. My point is that for decades Robeson's few films were withheld for political reasons, and when finally released, had become dated curiosity pieces with graveyard show times. Too bad, because Robeson is a cultural treasure whose misfortune was to ally with one of the most aggressive anti-racist forces of his time, the American communist party. Whatever the wisdom of that move, given the circumstances, it was an understandable alliance, at least in my little book.

Robeson's name may be above the title, but he really shares the starring role with the Welsh mining community he becomes a part of. I expect that's one reason this was his favorite film. He really has only one spotlight vocal, but it's a show-stopper, a terrifically moving version of the old spiritual Deep River. Otherwise, he blends into an ensemble cast, even though his sheer presence remains commanding throughout.

It's a good story, about a community surviving the shutdown of its central coal mining industry. There are echoes of leftist styles here, particularly in the mobilized-crowd scenes with their banners, etc. Nonetheless, as another reviewer astutely points out, labor issues are folded into the larger war effort that was then breaking out (late 1939) along the Polish corridor. In fact, by the look of the latter sequences, I wouldn't be surprised if some re- editing and re-shooting were involved to keep abreast of fast moving global events.

There are several arresting scenes. The set for the Robeson solo with the huge choral backdrop remains impressive even by today's standards and accentuates this, the film's emotional centerpiece. Another eye-catcher is the unemployed men picking over the mountainous slag heap like starving birds amid growing desperation. Also, the collapsing mine tunnel looks almost too real to be a "special effect", and I'm still wondering how they did it in those days before blue screens and digitalized computers.

Anyway, here's hoping Turner Classic Movies finally decides to show a Robeson film, especially this one, at a decent hour, so a broader American public can catch up with a cultural treasure long denied them. Too bad, the great actor-singer-athlete had to go to Europe to find the kind of dignified roles he was so beautifully suited for.

This film was shown to a group of Turkish students recently with a surprising result.. they loved it! Robeson suffered all through his career from dud scripts. He was usually cast as an African chief in low budget British made films, in this film he plays the part of a coal miner in Wales. Songs include "Deep River" and "Land Of My Fathers". Robeson was accepted more in England than he was in the USA probably because of his political beliefs. Communist or not he had a great voice and this film shows that given a half decent script he was a good actor. Buy it while you can, these Gems tend to go out of print very quickly never to be seen again for years.

"Why damn and blast it man, aren't we all black down in the pit?"

All of the essential elements of Paul Robeson are here - his deep baritone singing, a strong black character, and an homage to the working man. It takes place in the coal pits of a Welsh mining town, where Robeson shows up looking to work, and despite some initial resistance, fits right in. A disaster leads to many men dying, and worse yet, the mine to be closed, threatening the entire community.

Later, as some men toil outside the mine, sifting through an enormous slag heap for coal like ants, we get an exchange that reflects their frustration:

"Better dole money than no money at all." "This 'half a loaf's better than none' talk makes me sick." "Nearly a year since the explosion and we've been no more than numbers of the books of the labor exchange."

They decide to march to London to the mine company's headquarters, their letters of appeal to re-open the mine having fallen on deaf ears, but when they get there, they hear a newsboy yelling the latest story, that Hitler is menacing Europe. A series of headlines is then shown leading to "Hitler Marches Into Poland," and the story becomes less workers vs. Management, and more Britain vs. Germany. The workers volunteer to find an alternate route to the pit's coal reserves via a dangerous path, and management agrees for the good of the impending war effort.

This shift away from the concept of exploitation of workers in towns like this is somewhat unfortunate, but showing their bravery and the difficulty of the job is highly sympathetic, and the topicality of the Nazi threat adds an extra dimension to the film. It's fascinating that as blackouts went into effect in London towards the end of shooting, Robeson had to go the set before dawn, and return via an underground tunnel. There are also some dramatic scenes down in the pit that lead to a stirring conclusion.

It's a story that doesn't feel fully fleshed out and there is a hodgepodge of elements (including an extraneous love story), but because of Robeson, the working class theme, and its reflection of the country being on the cusp of war, it held my interest, and I think it's worth the 76 minutes.

This is a very good film that gives a rare glimpse of Welsh life that has long since passed. The film begins in Wales just before WWII and a wandering American (Paul Robeson) wanders into town. Despite being a black man, almost everyone accepts him and he is soon a valued member of the community. He also is an important part of the local choral group--something VERY important in this culture. In fact, throughout the film is lots of lovely Welsh singing--and it's perhaps the best part of the movie. But, it's also a great portrait of a way of life that has passed--the grim life of a coal miner. Their struggle is chronicled in this film--with strikes, mining disasters and the like.

This sort of plot is not at all surprising for Robeson, as he was a committed life-long socialist--with some communist sympathies. This is NOT meant as a criticism--just explaining his affinity towards the downtrodden and labor unions (which were important in providing a safe working environment for the miners). But I love that the film is not preachy about--it just shows their difficulties as well as their work ethic, values, belief in God and strong wills. A wonderful film and a nice film to see in a double-feature with "How Green Was My Valley"--which as a Hollywood and highly romanticized view of these people.

All in all, one of Robeson's best films because he plays not a black man but a man--and a heck of a man at that.

This film was released in Britain shortly after the outbreak of war, and it reflects that uncertain period. Coal was a national priority, yet the coal industry had a long legacy of unemployment and bitter labour disputes.

Consequently, Robeson, in the guise of a discharged American seaman, fetches up in a South wales mining village, where he is a valuable recruit to the local choir. Unfortunately, a disaster closes the mine, and a group of the miners (including Robeson, of course), march down to London to try and persuade the colliery bosses to let them find a way round the blocked section. As they march, a succession of newspaper posters chart the events leading to the outbreak of war.

This is an echo of the pre-war hunger marches - but in this situation, a clever narrative device is used, for no-one is to blame for them being out of work. As a result, the bosses and workers are later seen working together, trying to reopen a pit that is strategically valuable to the war effort.

Of course, the plan eventually boils down to detonating an explosive charge that is, in effect, a suicidal act. Robeson knocks out the miner who has drawn the short straw and sacrifices himself. Just as the soldier on the battlefield, the miner sometimes has to lay down his life for his friends. (Mining in wartime Britain was a reserved occupation.)

There is hardly any reference to colour prejudice in this film, and full use is made of Robeson's fine singing voice.