| Norman Yarborough | ... | Himself - Eastover Mining President | |
| Houston Elmore | ... | Himself - UMW organizer | |
| Phil Sparks | ... | Himself - UMW staff | |
| John Corcoran | ... | Himself - Consolidated Coal President | |
| John O'Leary | ... | Himself - former Bureau of Mines director | |
| Donald Rasmussen | ... | Himself - Blackwing Clinic, WV (as Dr. Donald Rasmussen) | |
| Hawley Wells Jr. | ... | Himself (as Dr. Hawley Wells Jr.) | |
| Tom Williams | ... | Himself - Boyle campaigner | |
| Chip Yablonski | ... | Himself | |
| Ken Yablonski | ... | Himself | |
| Logan Patterson | ... | Himself - negotiator | |
| Harry Patrick | ... | Himself - UMW secretary-treasurer | |
| Mike Trbovich | ... | Himself - UMW VP | |
| Bernie Aronson | ... | Himself - UMW staff | |
| Guy Farmer | ... | Himself - BCPA General Counsel | |
| Nimrod Workman | ... | Himself | |
| Bessie Lou Cornett | ... | Herself | |
| Jerry Wynn | ... | Himself - miner | |
| Bob Davis | ... | Himself - miner | |
| Lois Scott | ... | Herself | |
| Joe Dougher | ... | Himself - miner | |
| Jerry Johnson | ... | Himself - miner | |
| Sudie Crusenberry | ... | Herself | |
| Dorothy Johnson | ... | Herself | |
| Betty Eldridge | ... | Herself | |
| Ron Curtis | ... | Himself - miner | |
| Bill Doan | ... | Himself - miner | |
| Phyllis Boyens | ... | Herself | |
| Florence Reece | ... | Herself | |
| E.B. Allen | ... | Himself | |
| Jim Thomas | ... | Himself | |
| Mickey Messer | ... | Himself | |
| Nanny Rainey | ... | Herself | |
| Tom Pysell | ... | Himself | |
| Tommy Fergerson | ... | Himself | |
| Bill Worthington | ... | Himself | |
| Crystal Fergerson | ... | Herself | |
| Barry Speilberg | ... | Himself | |
| Polly Jones | ... | Herself | |
| Diane Jones | ... | Herself | |
| Otis King | ... | Himself | |
| Mary Lou Fergerson | ... | Herself | |
| rest of cast listed alphabetically: | |||
| W.A. 'Tony' Boyle | ... | Himself | |
| Basil Collins | ... | Himself - mine foreman | |
| Carl Horn | ... | Himself | |
| Lawrence Jones | ... | Himself - shooting victim | |
| John L. Lewis | ... | Himself (archive footage) | |
| Arnold Miller | ... | Himself | |
| William Simon | ... | Himself | |
| Richard Trumka | ... | Himself | |
| Billy G. Williams | ... | Himself - Harlan County sheriff | |
| Joseph Yablonski | ... | Himself (archive footage) | |
| Barbara Kopple | ... | Herself (voice) (uncredited) | |
Directed by | |||
| Barbara Kopple | |||
Produced by | |||
| Barbara Kopple | .... | producer | |
Original Music by | |||
| Hazel Dickens | |||
| Merle Travis | |||
Cinematography by | |||
| Kevin Keating | |||
| Hart Perry | |||
Film Editing by | |||
| Nancy Baker | |||
| Mirra Bank | |||
| Lora Hays | |||
| Mary Lampson | |||
Production Management | |||
| Marc Weiss | .... | production manager: Miller-Boyle Campaign (as Marc N. Weiss) | |
Sound Department | |||
| Rhetta Barron | .... | assistant sound editor | |
| Tim Colman | .... | additional sound | |
| Lee Dichter | .... | sound re-recording mixer | |
| Bob Gates | .... | additional sound | |
| Barbara Kopple | .... | sound recordist | |
| Judy Rabinovitz | .... | assistant sound editor | |
| Helene Susman | .... | assistant sound editor | |
| Joshua Waletzky | .... | sound editor (as Josh Waletzky) | |
| John Walz | .... | additional sound | |
Camera and Electrical Department | |||
| Dick Donovan | .... | assistant camera | |
| Michael Hamilton | .... | assistant camera | |
| Tom Hurwitz | .... | additional cinematographer | |
| Anne Lewis II | .... | assistant camera | |
| George Liebert | .... | assistant grip | |
| Alex Lukman | .... | assistant camera | |
| Flip McCarthy | .... | additional cinematographer | |
| Phil Parmet | .... | additional cinematographer | |
| Shane Zarintash | .... | assistant camera | |
Editorial Department | |||
| Mirra Bank | .... | contributing editor | |
| Lora Hays | .... | consulting editor | |
| Lawrence Mischel | .... | negative cutter | |
| Sue Mischel | .... | negative cutter | |
Other crew | |||
| Jean Bertl | .... | titles | |
| Mariann Dusseldorp | .... | unspecified assistant | |
| Jose Gallardo | .... | titles | |
| Barbara Johnson | .... | unspecified assistant | |
| Anne Lewis II | .... | associate director | |
| Teri Siegel | .... | unspecified assistant | |
Thanks | |||
| Bernie Aronson | .... | thanks | |
| Ting Barrow | .... | thanks | |
| Robert Boehm | .... | thanks | |
| Bernie Chertok | .... | thanks | |
| David Chertok | .... | thanks | |
| Heleny Cook | .... | thanks | |
| Alida Davison | .... | thanks | |
| Suzy Elmiger | .... | thanks | |
| Leon Gast | .... | thanks | |
| Robert Gumpert | .... | thanks | |
| Carol Guyer | .... | thanks | |
| Cynthia Guyer | .... | thanks | |
| Barbara Haspiel | .... | thanks | |
| Nancy Higgins | .... | thanks | |
| Anne Hoblitzelle | .... | thanks | |
| Robert Kaylor | .... | thanks | |
| Alfred S. Kopple | .... | thanks | |
| Majorie Kopple | .... | thanks | |
| Peter Kopple | .... | thanks | |
| Laura Lesser | .... | thanks | |
| Alan Manger | .... | thanks | |
| Richard Pearce | .... | thanks | |
| Michael Penland | .... | thanks | |
| D.A. Pennebaker | .... | thanks | |
| Hart Perry | .... | thanks | |
| George Pillsbury | .... | thanks | |
| Barrie Singer | .... | thanks | |
| Marvin Soloway | .... | thanks | |
| Bill Susman | .... | thanks | |
| Simone Swan | .... | thanks | |
| Rip Torn | .... | thanks | |
| Meri Weingarten | .... | thanks (as Merry Weingarten) | |
| Mo Weitzman | .... | thanks (as Moe Weitzman) | |
| Myrna Zimmerman | .... | thanks | |
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| Harlan County War | Matewan | Billy Elliot | Germinal | October Sky |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
The clarity and portrayal in Harlan County of the hideous strikes makes the audience feel involved. Surrounded by beautiful nature and hollows, poverty and living conditions flip the picture. In this particular film by Barbara Kopple, her crew follows around the coal miners and their families around the clock. There is not anytime of day where a song is being sung or gun shots are being fired not caught on camera. Kopple's depiction of women and use of sound makes this documentary distinct for its time. In the mid 60's, civil rights and liberties was a huge issue. Eventually the Civil Rights Act of 1963 was passed and America was slowly evolving into a new nation. During the strikes in Harlan Country, women played a big role to help and on screen. Kopple dedicated a good amount of footage to the emergence of women taking a stand and being strong. Around the time of this strike, women were not portrayed as they were on screen thorough the documentary. In one particular picket stand, a car was rolled in the middle of a main road surrounded by women protesting. The sheriff told them repeatedly to clear the road, but they did not move an inch. The women organization during the strike did not become vulnerable once presenting a new image. By the camera shooting close-ups of women's faces during their meetings and protests, the audience can really feel the power and anger they had alone. As the documentary unfolds, the use of music played a major role. Through out the whole presentation, the songs heard described key events that took place during the strike. When studies were shown how black dust from coal kills your lungs, many small scenes showed the coal miners having trouble breathing. During this segment, a depressing song about black dust accompanied each powerful image. Many involved during these hard times composed songs of their feelings and emotions which Kopple caught on screen and included in many shots. The documentary starts the film with an elderly man singing a slow depressing song setting the harsh tone. By the end of the documentary, songs of victory and happiness accompany the images. Including the songs throughout the whole film gave the images more to express to the audience through the journey. Kopple's documentary gives viewers a front row seat of the horrible atrocities during the Harlan County strike. The camera can only speak so many words. Approaching this event as a documentary including powerful music makes the camera and film process complete.