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The Molly Maguires (1970)

 -  Drama | History  -  17 June 1970 (France)
6.9
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Ratings: 6.9/10 from 2,231 users  
Reviews: 34 user | 15 critic

Life is rough in the coal mines of 1876 Pennsylvania. A secret group of Irish immigrant miners, known as the Molly Maguires, fights against the cruelty of the mining company with sabotage ... See full summary »

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Cast

Complete credited cast:
...
...
Detective James McParlan
...
Miss Mary Raines
...
Davies
...
Dougherty
...
Mrs. Kehoe
Art Lund ...
Frazier
Philip Bourneuf ...
Father O'Connor
Anthony Costello ...
Frank McAndrew
Brendan Dillon ...
Mr. Raines
Frances Heflin ...
Mrs. Frazier
John Alderson ...
Jenkins
...
Bartender
Susan Goodman ...
Mrs. McAndrew
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Storyline

Life is rough in the coal mines of 1876 Pennsylvania. A secret group of Irish immigrant miners, known as the Molly Maguires, fights against the cruelty of the mining company with sabotage and murder. A detective, also an Irish emigrant, is hired to infiltrate the group and report on its members. But on which side do his sympathies lie? Written by John Oswalt <jao@jao.com>

Plot Summary | Plot Synopsis

Genres:

Drama | History

Motion Picture Rating (MPAA)

Rated PG for violence, language and some thematic material | See all certifications »
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Details

Country:

Language:

Release Date:

17 June 1970 (France)  »

Also Known As:

Odio en las entrañas  »

Filming Locations:

 »

Box Office

Budget:

$11,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The first word of dialogue in the film is not heard until the 14 minute 51 second mark. See more »

Goofs

When Detective McParlan (James McKenna) and Mary Raines are walking down the Philadelphia street, a large hill can be seen in the background. There are no hills in the vicinity, or visible from, downtown Philadephia. See more »

Quotes

Miss Mary Raines: You heard what the Father said. There's no future for what you joined except hell.
Detective James McParlan: Well I'm a miner now. I'll be traveling in that direction anyway, just out of habit.
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Connections

Featured in Golden Rule: The Investment Theory of Politics (2009) See more »

Soundtracks

Cockles and Mussels
Traditional Irish Song
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User Reviews

 
Damnation in the Pennsylvania coalfields
4 October 2005 | by (London, England) – See all my reviews

The Molly Maguires is the kind of film that would simply never be made today: a major studio picture about social injustice and betrayal in the coalfields of Pennsylvania in 1876 that became one of the most colossal box-office flops of all time (despite a massive budget and the presence of Sean Connery, it actually grossed even less than John Sayles' low-budget Matewan). Set in the aftermath of a failed strike where a group of miners are trying to win with dynamite what they lost with industrial action as their powerlessness turns into violent action, it's a surprisingly bitter film for a studio picture, even in the 1970s. There's no doubting that Richard Harris' infiltrator is damned. Screenwriter Walter Bernstein was blacklisted, and the experience clearly fuels much of the script. Certainly the end, where absolution is denied, recalls Abraham Polonsky's comment that he got through being blacklisted "because I knew for me one day it would end. For those who named names, it will never end."

But there's more to his script than mere words: huge sections of the film are played without dialogue – it's 15 minutes before a single word is spoken and 40 before Sean Connery speaks despite his background presence quietly dominating much of the proceedings. James Wong Howe's astounding scope photography is a major asset, quietly confident as it paints with light a real portrait of a time and place, conveying a sense of the way the pits worked in the beautifully timed establishing shots. There's real intelligence in the framing of the film, whether turning a door frame into an impromptu confessional booth or, in the haunting final shot, turning a rehearsal for one man's execution into another man's silent purgatory. Henry Mancini's score, along with The White Dawn his most beautiful and atypical, is another major plus in a seriously undervalued film.


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