MATEWAN (1987, Cinecom, 130 min.), directed by John Sayles, screenplay by John Sayles,

produced by Peggy Rajski and Maggie Renzi, cinematography by Haskell Wexler, edited by Sonya Polonsky, production design by Nora Chavooshian, music by Mason Daring; with Chris Cooper (Joe), James Earl Jones (Few Clothes), Mary McDonnell (Elma), Will Oldham (Danny), David Strathairn (Sid), Ken Jenkins (Sephus), Gordon Clapp (Griggs), Kevin Tighe (Hickey), John Sayles (Hardshell Preacher), Bob Gunton (C.E.), Josh Mostel (Cabell), Nancy Mette (Bridey Mae), Maggie Renzi (Rosaria).

Please jot down answers to the following, and answer three in depth.

1. Discuss the setting of the film, Matewan, West Virginia. How would you characterize this country? Describe it, and discuss the feelings that this setting creates.

2. The basic plot line to the film is one of the oldest in the books: A stranger rides into town. The status quo is disrupted through conflict. Complications ensue. Events reach the point of no return. The status quo is restored (but not exactly as before) when the stranger leaves town. Why do you think Sayles chose this plot for his film? Does it come across as stale and predictable?

3. This is a film full of conflict--in fact, it is a film about conflict and about different ways to come to terms with it. List the various conflicts going on in this film, as many as possible.

4. Discuss Joe Kenehan. What is it that motivates him? What does he want more than anything else? Do you find him one-dimensional in his pursuit of his goals? Does he develop?

5. Sayles writes, "To personalize the backbone of the film, Joe's struggle for justice without violence, I created Danny Radnor. . . . Joe's fight becomes a struggle for Danny's soul" Thinking in Pictures 19). Discuss Danny, and discuss the "struggle for Danny's soul."

6. In a quote that reminds one of how different Sayles is from someone like Spike Lee, the director writes, "Our one general decision was to stay away from self-conscious, authorial kinds of camera moves. As often as possible we wanted the characters and the action to lead the eye, rather than have the camera drag it around. Though bravura camera moves can add a lot to a certain kind of movie, establishing a grand style or an ironic distance from the story, we wanted the audience to be inside the story and to forget about the movie-makers as much as possible" (Thinking in Pictures 88). Did he succeed in this? Does the style of the film make you forget that you are watching a movie? Does the film have a documentary feel to it? Do you find that the style of the film works for you, or do you find it uninteresting?

7. In this film Sayles worked with veteran cinematographer Haskell Wexler. What do you think of the cinematography in the film? Discuss a couple of scenes that stand out.

8. Discuss the use of music in the film. For example, how is music used to characterize the various ethnic groups? How does this fit into the film's central themes?

9. Choose one of the confrontation scenes and discuss the way tension is built to the point of explosion.

10. What role does Few Clothes play in the film?

11. Discuss the relationship between Joe and Elma.

12. Sayles writes, "The pace of a movie can often be quickened by bringing the audience into a scene as late as possible, skipping the knock on the door, the introductions and build-up, and getting right to the meet of the action" (Thinking in Pictures 29). Discuss a scene in which Sayles accomplishes this end, shifting from one scene to the middle of another.

13. What do you think of the ending of the film? What is the film telling us at the end?

14. Discuss the politics of this film. What does Sayles seem to be saying about unions, about the capitalist system, about race relations?

15. Finally, Sayles writes, "Movies that make the audience ask questions almost invariably have to push beyond genre, beyond the satisfying ritual of the expected" (Thinking in Pictures 17). Does Matewan make the audience ask questions? Which questions? Does it undercut any of your expectations?

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