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Fantastic!

Although it has its amusing moments, in eneral the plot does not convince.

In truth, there is barely enough story here to make a film.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

This is one of the great immigrant movies; it speaks in a manner simple and concise about what it means to be the outsider, to be used and abused and your voice never heard, to be at the bottom of the barrel looking up. It speaks about despair violence and moral devastation in the Pennsylvania coal mines of 1876, about right and wrong, law and ethos, and their flipsides, violence and anarchy. The movie's characters have amazingly human needs, some of them to be heard in that shanty town of Pennsylvania and others to get away from it. Richard Harris plays one of the most fascinating complex characters I've seen. I love his type of character so much because he's the villain, the one we must boo, but he doesn't give a damn about our booing, he doesn't look for absolution or forgiveness in the end. I like characters who have what it takes to be the bad guy.He's paid to infiltrate a radical group of coalworkers, The Molly Maguires, find out who they are and give them up. For a time he sympathizes with their cause, he goes down to the coal mines and comes out with the same paste of coaldust grime and sweat on his face and gets paid 24 cents a week for it, but when he needs to name names he does so without flinching. Like the Irish coal miners he mingles with, he's a man "at the bottom of the barrel", but unlike them, he wants to be at the top of the barrel looking down. He finds love, his boarding lady who's desperate to get out of that coaldusted hellhole, a woman of strict ethics who wants decency and lawfulness. He tells her that "you buy decency and respectability like you buy a loaf of bread", so that he recognizes the futility of the Mollies' struggle and can't help to be drawn to it, to that fleeting sparkle of futile human defiance against injustice. But that's not the movie's meridian, although it feels so at the time. A little later we get a magnificent discussion in a tavern, during a wake, between himself and Sean Connery, brooding leader of the Mollies', where Richard Harris tells him that he'll never die, that he's going to live forever.It struck me like a brick, like reading Judge Holden speak to his scalphunter comrades in Blood Meridian around a campfire in the middle of the desert, because essentially and metaphorically, that is true; everybody else will pass away, the men who struggle and fight oppression and the men who die "without making a pip", but Richard Harris will live forever. He's deceit everlasting, the cosmic trickster. During their trial, when the prosecutor against the Mollies' calls for the first witness, a door to an adjacent room opens and we see Richard Harris calmly playing cards with the police captain, a man he has nothing but contempt for. In the end, there's neither punishment nor forgiveness for him, he's beyond all that, a little above and beyond everything else, damnation and vengeance, beyond even love or self-pity, human compassion and regret too. In the end he walks by a newly erected scaffold being tested by prison wardens, and he simply walks away never looking back. He's not even going away to Denver, Colorado, to be in charge of a detective agency there, he goes beyond that, [...] he never sleeps, he says that he will never die, he dances in light and in shadow and he is a great favourite, he never sleeps, he says that he will never die. Perfect.What's not perfect is the bogus score by Henry Mancini, basically upbeat irish folk reworkings. Maybe 16 Horsepower should redo this one.

This is a serious film about morality and social injustice and perhaps not surprisingly it flopped at the American box office in the 1960's. Set in the Pennsylvanian coalfields of the 1870's it revolves around two characters:Jack Kehoe, the leader of the Molly Maguires,a secret society dedicated to violently fighting the enormous exploitation that was the lot of the miners working in the coalfield; and James McParlan,who as the undercover agent for the Pinkerton Detective agency is prepared to shed all common notions of human feeling and loyalty in pursuit of a "higher" justice and more obviously his own American Dream There is a strong cast including Frank Finlay and Samantha Eggar giving support to the two leading performances of Sean Connery and Richard Harris who is particularly successful at conveying some of the inner conflicts within his character's situation. However the real quality of the film lies in other directions.It deserves its Oscar nomination for art direction and the authenticity of the set placed in the almost abandoned Pennsylvania town of Ecksly is amazing.The pace of the film is more European than Hollywood and this is particularly evident in the strangely beautiful opening which with its well crafted choice of shots and sequences establishes the background of the drama. You may choose to side with the underdog refusing to be buried by the industrial machine or you may ultimately judge the Molly Maguires to to be violent thugs and murderers.However, the final shot of the film with the gallows rehearsal as McParlan finally turns his back on all that he has done leaves little doubt that the inner life of this man will have to pay a cost for the deaths he has brought about. I too enjoyed Henry Mancini's unobtrusive but effective score. This is an undervalued film that is at last like that other great flop, "Heaven's Gate",getting some of the attention it deserves.Indeed the beautifully filmed rugby match between the Welsh and Irish miners performs a similar function to the skating in "Heaven's Gate", reflecting something of the spirit and ethos of an immigrant community.Well worth a viewing. There is much to enjoy.

RICHARD HARRIS is an informer who works his way into THE MOLLY MAGUIRES, a rebellious group and a secret society of Irish immigrants working under brutal coalmining conditions of 1876. Harris is suspected of snooping by SEAN CONNERY, the leader of the group, and it is their scenes together that make the film worth watching.Although realistically set in a Pennsylvania mining town, lovingly photographed with detailed attention to all the grime and soot, it fails to come to life as it should, given the caliber of the stars involved. SAMANTHA EGGAR has the only important female role and is a splendid addition to the cast, but somehow the film fails to have the kind of pace it needs to remain stimulating and reaches a rather inconclusive climax.A very atypical score by Henry Mancini adds to the atmosphere, but this is a film that never had broad enough appeal for the mass market. Fans of Harris and Connery should find it rewarding enough.

Apparently the Molly Maguires were four guys infiltrated by Richard Harris. I once read that they were a large organization of terrorist miners all over eastern Pennsylvania in 1876-77.I don't know why Don Knotts was in thi8s film without a credit at the end. He played a Pinkerton detective and was surprisingly convincing for someone who usually plays a funnyman.They took a lot of liberties with the story but what else is new? The priest stole the movie with his sanctimonious lectures to the Maguires at every funeral. Why did they take chowderhead off the IMDb? He was my hero.Henry Mancini did the music and there's nothing like good music to dance to when people are dying in coal mining accidents. The Molly Maguires was an amazing mood piece for life in the coal mines in the 19th century but it did not do justice to the injustices that motivated the Molly Maguires to acts of protest. The Mollys were wrong but they were wronged to begin with and the movie does not show the grievances of the workers in any mature way.I liked the part when they tried to kill Harris with a pile of coal.