Thread by @ErikLoomis

This Day in Labor History: March 15, 1940. John Ford’s film version of John Steinbeck’s The Grapes of Wrath, was released to universal acclaim. This was perhaps the greatest moment of the cultural left during the Great Depression. Let's talk about it!

Of all the New Deal-era art that broadly made up the Popular Front, none were more well-remembered and beloved than the book and film versions of The Grapes of Wrath, despite and possibly because neither Ford nor Steinbeck was closely associated with that movement.

Steinbeck’s powerful 1939 novel was a sensation. Its tale of the Joads and their bitter journey from Oklahoma to California in search of work and a new life was a huge hit.

Produced at the tail end of the worst economic crisis in American history, it galvanized attention on the plight of the so-called Okies, even if it didn’t lead to any policy to alleviate their problems.

This despite the fact that the book and the film both played up the Resettlement Administration camp that treated people decently, with the film even going into a closeup on the RA logo.

The plight of white migrants to California had received a good bit of attention from artists, most notably in the photographs of Dorothea Lange.

These migrants were more victims of New Deal farm policy that encouraged consolidation and industrial farming than the Dust Bowl, as most, including the fictional Joads, originated well east of the Dust Bowl.

They were part of the national crisis of the Great Depression, which led to a lot of hand-wringing, no shortage of fear, and a belated and relatively small government response to provide relief for these small farmers

The Grapes of Wrath focused national attention on their plight, especially with the release of the film.

John Ford was a brilliant choice to direct the film adaptation.

Although today best known for his often racist westerns, he was more of a broad believer in a salt of the earth white populism that simply assumed a Turnerian view of history (which was almost ubiquitous during the New Deal among intellectuals, politicians, and artists).

Henry Fonda as Tom Joad was classic casting. With his flat Midwestern accent and good looks, he personified the prototype of the All-American young man, an image he would build upon for his entire career (and play against type in Once Upon a Time in the West, 28 years later)

His ideological transformation from rough and tumble Oklahoma white to organizer and lefty is a story of what happens to people when they are beaten down enough. Sure, grandpa dies, the brother-in-law runs away, and the family falls apart.

Preacher Casey gets murdered by the farm owner thugs. But the struggle continues. Ma keeps the rest of the family together (and Jane Darwell was brilliant) and Tom builds on Casey’s legacy, not as an ideological radical but as a man seeking answers to the poverty of his life.

Steinbeck himself was thrilled with the film version, writing “No punches were pulled. In fact….it is a harsher thing than the book.”

And as great as the book is, the film is better as it distills the key points with great power while rewriting the book’s dark and somewhat gratuitous ending to provide some sort of hope at the end, as opposed to the flood and endless despair of the last section of the book.

The film and the book both make one huge and regrettable error, which is erasing non-white labor from the land. California was not this agricultural paradise where everyone could eat all the oranges they wanted.

Those farmers had always sought cheap, exploitable labor, whether Mexican, Filipino, Japanese, or Okie. It was to serve these farmers that Mexico was exempt from the 1924 Immigration Act. They recruited labor from the Philippines after Japanese migration ended.

Those immigrants would play a key role in the history of farmworker organizing. The Bracero Program would be a solution for the disappearance of white labor from the fields during World War II.

But neither Steinbeck nor Ford had any interest in these non-whites at all and their stories and histories are a very conspicuous absence.

I’ve wondered what would have happened to Tom Joad in the future. I say that had he not been thrown in jail for life by the cops or killed as an organizer, he would have fought in the Marines in World War II.

Had he survived, he and his family would be working in the California defense plants like many other Depression era migrant whites, he would have bought a home in Orange County, and probably voted for Goldwater in 1964.

Back Wednesday to discuss the Kronstadt Rebellion, when the Soviets defined themselves as not the workers' state, but rather another form of government designed to repress worker autonomy.