THE WHISTLE AT EATON FALLS (1951)

A narrator introduces us to the small New Hampshire town of Eaton Falls which is going through some hard times. A shoe manufacturing plant recently closed down, putting a big chunk of locals out of work (charity events are periodically held for these folks) and silencing the work whistle which marked the beginning and end of the work day and could be heard all over town. The whistle is moved to the Doubleday Plastics plant, the only big industry left, but changes are coming there as well. In order to lower costs, Mr. Doubleday is bringing in new machines which will entail closing the plant briefly and bringing back only about half the men. Worker Brad Adams (Lloyd Bridges), liked by both union and management, is prompted to head of the union, and when Mr. Doubleday dies in a plane crash, the widow, knowing that union problems are about to break out, promotes Brad to head of the company, over general manager Dwight Hawkins. Bad blood boils all over. Brad cuts a bid for making Navy materials to the bone, hoping that could keep the company afloat, but he is underbid. Hawkins quits, joins another manufacturing company, and pushes his new company to buy Doubleday, a move that Brad knows will mean permanent layoffs. A major account is not renewed because Doubleday's cost to produce is too high. A couple of union troublemakers ignite a vote of no confidence among the rank and file against Brad. And nothing can stop the new machinery that's on its way.

Off the top of my head, I can only think of a handful of labor movies: On the Waterfront, Norma Rae, Blue Collar, and the musical The Pajama Game. Movies about labor problems may have dramatic potential, but, like stories about writing or inventing, they don't necessarily lend themselves to good cinema. This one is no exception. The narrative plods along predictably, a tragedy occurs, and there is a somewhat improbable happy-ish ending. The acting is the main reason to watch this. Bridges is fine, if unexciting, as the conflicted hero; a very young Murray Hamilton is better as the union hothead; Ernest Borgnine, in only his second film role, is good as an associate of Hamilton's; and young Carleton Carpenter, better known as a singer and dancer in 50s MGM musicals, is fine as a worker and artist who is instrumental in figuring out a way to cut costs. Dorothy Gish, younger sister of silent star Lillian Gish, is the widow, and other familiar faces include Arthur O'Connell, Dodo Merande, Russell Hardie, and the lovely Anne Francis who makes an impression even though she is underused. Interesting as a novelty. Pictured are Hamilton and Borgnine. [TCM]