While most of the TV-viewing country was watching the 2005 White Sox make it into the World Series -- one step closer to Chicago's first baseball championship since 1917 -- I was, as readers of this blog would expect, watching a movie about the 1919 White Sox -- John Sayles’ Eight Men Out (1988).
This film is a good example of filmmakers' disparagement of business, motivated by the artist's struggle with the capitalists, described in my paper, Wall Street and Vine. Here’s what I say about the film in the current version of my paper:
John Sayles’ Eight Men Out (1988) presents the 1919 “Black Sox” cheating scandal as the players being forced by economic hardship (team owners and gamblers get all the money) to sell out to the gamblers. The plot reflects the sentiments of Sayles, an independent filmmaker. (The film is a followup to Sayles’ film about the brutal treatment of striking miners in Matewan (1987)). So does the film’s length: the studios wanted a film that was less than two hours, and Sayles gave them one hour, fifty-nine minutes and forty-eight seconds.
On this viewing, my first in several years, the film seemed even more blatantly Marxist than I remembered. There’s much talk about oppression of the workers, and (in a speech near the end by Eddie Cicotte (David Strathairn)) about how the workers contribute the value while the capitalists reap the rewards. Ring Lardner (John Sayles) comments that this sort of thing wouldn’t happen if only Comiskey paid his players a “living wage.” (Factoid: One of the players is said to be making $6,000, which is about $66,000 in 2005 dollars. Less than A Rod, but not exactly starvation.) The businessmen and gamblers are portrayed as all of one slimey piece.
And as in many of the films I discuss in my article, the journalists are the voices of Truth and Justice. We are meant to see them in films as stand-ins for the filmmakers. In this case we don’t have to use our imaginations because the director plays one of them. Everyman Studs Terkel plays Hugh Fullerton, who in reality did play a role in exposing the scandal.
Many elements of this film appear in Robert Redford’s film, Quiz Show (1994) about cheating on the TV game show, “21,” which I also write about in my paper. In Redford’s film, though, the Marxism is muted – it’s more about how the intelligentsia, in the person of Charles Van Doren, betray society when they sell out for filthy lucre.
Apart from the politics, is the film any good? It is quite well made. In an outstanding cast, John Cusack (as Buck Weaver), in his first major role (he was 22), basically stole the show. Most of the film, showing the playing and fixing of the series, expertly makes us feel what it’s like when some team players are cheating and some aren’t. The sequence about signing the players up for the conspiracy is also an interesting lesson in game theory (e.g., one player says if the two best pitchers are in the conspiracy, he may as well be).
But the movie isn’t as good as it could be. And that, I believe, is because it’s one of the clearest examples I know of a film that was ruined by its anti-business message. The players' economic motivation had to be the least cinematically compelling aspect of this story. Yet it apparently was the only story Sayles cared about.
How else might the film have been done? How about doing a better job of developing the players’ relationships. Even better, develop the Ring Lardner angle. Lardner wrote what I think is still the best baseball story, You Know Me, Al. The book is about the White Sox, written before 1919. The 1919 season was evidently shattering for Lardner.
So see the movie at some point during the coming World Series, but don't think that it's only about baseball.
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