Fred Ross (foreground left) and Cesar Chavez (foreground right) in AMERICAN AGITATORS. Courtesy of Cinequest.
American Agitators is the important story of legendary organizer Fred Ross, the mentor of Cesar Chavez, and essentially a saint of the social justice movement. American Agitators shows Ross being formed by the Great Depression and the left-wing politics, the union movement and the New Deal. As a fully formed organizer, Ross met Chavez; Ross’ organizing resonated with Chavez applied his own imagination to Ross’ tactics and launched his own historically essential movements for farmworker unionization and Chicano Rights.
Director Raymond Telles has sourced the film impeccably. The third act rolls out Ross’ legacy today, not just Chavez the icon and the Farmworkers movement, but the influence of Fred Ross, Jr. and then a more loosely configured compendium of recent and current labor campaigns..
Fred Ross and Dolores Huerta in AMERICAN AGITATORS. Courtesy of Cinequest.
LOCAL SAN JOSE INTEREST: Fred Ross met Chavez at Cesar’s home at 53 Sharff Avenue in San Jose, hired Cesar as his deputy and organized out of McDonnell Hall at Our Lady of Guadalupe on East Antonio Street. Cesar’s son Paul (of San Jose) appears in the film as does Luis Valdes of Teatro Campesino, who has also had a significant presence in San Jose.
I screened American Agitators for its world premiere at Cinequest.
Photo caption: A SONG FOR CESAR. Courtesy of Juno Films.
A Song for Cesar is a rich documentary on the role of music and the arts in the critical years of Cesar Chavez’s United Farm Worker movement – so rich that it’s much more than that. There’s a time capsule of the turbulent 1960s, the story of emerging Chicano identity and a meditation on the role of arts in political activism – all embedded in a compelling history lesson.
A Song for Cesar shows us how music and the UFW uplifted each other. Anthems were used in mobilizing, and benefit concerts were a major pillar of UFW fundraising. In the other direction, Cesar Chavez and the movement inspired a generation of Chicano musical artists. We hear directly from a veritable Who’s Who of Chicano musicians from Malo, El Chicano, Tower of Power, War, Santana and Los Lobos through Ozomotli. The memories of UFW allies like Taj Mahal and Joan Baez are also central to A Song for Cesar.
It’s not just only about music, either – the importance of murals and theater are highlighted. We hear from Luis Valdez, founder of Teatro Campesino, about the beginnings of Teatro and its place in the movement.
A Song for Cesar captures the zeitgeist of the time. The UFW’s organizing campaign coincided with (as well as inspiring) new Chicano identity and pride. As Tower of Power’s Emilio Castillo says, “People were ready to protest for social change.They weren’t going for the old okey-doke no more.”
A Song for Cesar reminds us of the mass casualty tragedies that galvanized the Farm Worker movement, along with the low pay, wage theft, horrid working conditions and exploitation. (A personal reflection: when I think of the cruelty, disrespect and social control embodied in the short handled hoe, I still get pissed off.) Exceptionally well-sourced, A Song for Cesar presents first-hand recollections of Chavez family members, UFW leader Dolores Huerta and other participants. The UFW history is deep enough to acknowledge the overlooked role of Filipinos in the UFW, with Larry Itliong as a co-founder of the union.
The Farm Workers had to face goon violence from the growers and infiltration by racist law enforcement. It becomes all the more relatable when Luis Valdez describes facing the violence with non-violence in very personal terms. A Song for Cesar is solid history and an important document of the times.
A Song for Cesar is filled with cool tidbits, like how Cesar Chavez was himself a big jazz fan, who would comb record store bins whenever he had the chance. Who knew?
A Song for Cesar opens this weekend, and will have March 18-24 runs at the Opera Plaza and the Smith San Rafael.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
Ran-hee Lee’s unpretentious A Leaveis a surprisingly insightful slice-of-life into the modern global workplace. It opens on Day 1893 of a labor sit-in, as laid-off workers hold out to get reinstated in their longtime jobs. They have obviously lost this struggle a long while ago, although not everyone is ready to internalize that fact and move on. Middle-aged Jaebok, one of the sit-in;s remaining leaders, decides to take a leave from organizing that he characterizes as “like taking a leave from work”.
With some distance from the day-to-day campaign, he’s back in his apartment, and back to clogged drains and surly teenagers. He realizes that, without a paycheck, he cannot give his kids what they need (and his bright, promising older daughter needs college tuition). So, Jaebok finds a job in the new economy.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
It turns that his new job is as a temp contract worker in a sweat shop that supplies a big company like the one that laid him off. His new boss sells the opportunity with, “the company is disaster-free” – a low bar if ever there were one.
Jaebok, used to a decades-long career path with a single employer is puzzled by the revolving door of fellow workers. Only one young guy stays for more than a couple days, and many of the others must be undocumented immigrants working illegally.
The younger worker is not used to any continuity of co-workers – and not used to having relationships with his co-workers, something that Jaebok thinks is normal. The kid believes that asking for an eight hour shift is quaint.
A Leave is the first feature for writer-director Ran-hee Lee. She knows how to tell a little story in a little movie, which is not faint praise at all. Sometimes a little story is the best way to unmask great truth.
Lee uses non-actors in the film Her leading man is a 49-year-old guy who was laid off in real life and then picked up a temp job as a low wage contractor with undocumented, very green co-workers.
I screened A Leave for the SFFILM, where it won a jury mention.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
