The Tunnel

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.

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 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.

This film was recently shown to a large and very appreciative audience of all ages and backgrounds at the Paul Robeson Film Festival, organised by The National Screen and Sound Archive of Wales, a Department of The National Library of Wales (situated in the beautiful University town of Aberystwyth, on the mid-Wales coast).

It is full of wonderful, humane performances, has very exciting and exceptionally well-realized scenes of underground peril in the coal mines of South Wales (when we had such long-forgotten things as mines), and a social conscience clearly influenced by the Soviet workers' epics of the period. Add to the mix a degree of seriousness in the treatment of the lives and problems of working-class communities, and of the real-life Welsh experience, and also of the experience of blacks in the workplace, and one has an English-produced film probably unique in its period for the range of its sympathies. The coming war obviously put the English of the time on their honour!

Oh, yes - and the singing is very special, too!

Of course, worker-manager relations are idealised to a degree, but not so much as to suppress quite a number of uncomfortable truths, that must have had smug metropolitan audiences of the period squirming in their seats. Altogether, a much truer, and therefore finer, treatment of the Welsh mining experience than anything to be found in that overblown, overhyped confection, 'How green was my valley'.

Naturally, this excellent early Ealing feature is not generally available to the domestic market in Britain.

However, since we know the value of these things in Wales, I understand that our Sales Department at The National Library of Wales is usually able to supply individual video copies of the film! Interested parties should make enquires directly to that institution.

The Festival of films featuring Paul Robeson, of which the above is the first, continues in association with Aberystwyth Arts Centre Cinema until the 15th of July, 2003. The unreserved tickets are free. An interesting linked exhibition at The National Library of Wales, 'Let Paul Robeson Sing!', continues 'til the 25th of October 2003. The admission to this is also free.

I'm sure this information will be of interest to IMDB patrons.

In reviewing the achievements of African-Americans on film in chronological order for Black History Month, we're now at 1940 with the entry of The Proud Valley, considered by star Paul Robeson as his favorite. In this one, he's an American named David Goliah coming to Wales to find a job. After hearing his voice from outside the window while conducting his chorus in rehearsal, Mr. Parry (Edward Chapman) manages to convince David to sing in his choir and gets him a job at the mines where he also works. His son, Emlyn (Simon Lack) also works there and is engaged to Gwen Owen (Janet Johnson). I'll stop there and mention that Robeson is in fine form musically especially when he sings "Deep River" that sends chills down the spine. Perhaps because of his color, his character is sometimes in the background but by the end he does become essential. So for him, I'd definitely recommend The Proud Valley.