philosopherjack
Blue Collar, Paul Schrader's first film, might not be easily identifiable as a Schrader film if you didn't know: for long stretches of time it almost feels like something arising organically from the factories and the surrounding community, particularly from the male workers who navigate between profane self-assertion and constant losing-battle economic anxiety. This doesn't mean it feels like documentary - it increasingly submits to the mechanics of the plot and to the journey toward its final cinema-fist freeze-frame - but much of the movie carries an enormous feeling of ease and almost unmediated expression, with all three lead actors as fine as they've ever been. The film explores the complex equilibrium of the worker - at once proud of the union and what it represents but mostly contemptuous of the specific individuals who embody it; adhering to a traditional role as head of household while constantly on the lookout to subvert it with drugs and available women; sensitive to criticism and accusations of fallibility while constantly aware of their circumscribed place in the system. It's a gripping film from beginning to end, but inevitably now it's the sociological aspect that holds sway, given the subsequent decline of such labour-heavy production methods, and its consequences for the kind of worldview and social infrastructure Schrader explores. The film's treatment of race is also notable: the film's protagonists - two black and one white - are joined by what they have in common without being suspicious of what they don't, until their unity poses a threat to the system, and so must be not just broken, but converted into active hatred. That ending freeze-frame isn't subtle, but watching the movie now, it's like a portal to the toxic present, in which such communities are plundered for easy votes, with never a shred of economic concession or compassion given in return.
cmccann-2
Following his screen writing credits on classics like Obsession and Taxi Driver, Paul Schrader would make his first foray behind the camera with the 1978 film Blue Collar. Spotlighting the exploitation of proletariat workers at the hands of powers at be, the film ranks among Schraeder's best and remains a quintessential piece of 1970's U.S. independent cinema.Blue Collar revolves around three workers at a Detroit auto plant; Zeke (Richard Pryor), Jerry (Harvey Keitel) and Smokey (Yaphet Kotto). Perpetually mistreated by their higher-ups and barely making enough money to feed their families, the film follows the group as they hatch a desperate plan to rob their union. Carrying through with the plan, the men end up stumbling upon evidence of behind-the- scenes corruption, setting the stage for the film's second half where the big wigs gradually take down each member of the group.Shot with an air of gritty realism, Blue Collar is a low budget drama with a Marxist message - powerfully channelling themes of race, class conflict and white collar crookedness. Though similar contemporaneous films have endured better in the annals of film history, Schraeder's debut remains an overlooked gem - one worthy of being dusted off and given a second look.
tjoyce14150
How many times can one film be reffered to as "underrated" here on IMDb? In the case of this film it can't be said enough. This is the kind of hard hitting, emotionally involving film that made the 70s such an amazing decade in screen history. The acting is superb; without a doubt Richard Pryor's finest effort. Harvel Kietel is his usual magnetic self and Yaphet Kotto is understated yet electric at the same time. Thie dialogue is unlike what you would hear coming out of Hollywood today, and thats too bad. It hits you in the gut and makes you wince; which is as it should be dealing with this material.If you have not yet done so SEE THIS FILM!
non_sportcardandy
Even though it's more than twenty years since seeing it I'll take the risk of trying to make a helpful comment on this movie.It was part of a drive-in triple bill,not knowing a thing about the movie I mainly went to see it because of the $3.00 per car admission.The opening music persuaded me right away to like the movie,it's hard driving beat had me moving in my seat.Except for Richard Pryor the names in the cast were unknown to me which may of given it more of a real life look for me.Years later I would find out one of the most impressive parts was played by Harvey Keitel.Pryors scene with the IRS man was very funny .Although he's frustrated about his financial situation the scene looks more like a comedy skit inserted as a break from the serious storyline.Pryors attempt at explaining his tax return can't be taken seriously but is sidesplitting.Living 27 years in Oaklad,10 in the poorest section I felt this movie had an Oakland look to it.Through the years I considered Oakland an blue collar town for that reason I could relate to this movie much more than others.
AD
