Session: 123456789101112131415161718192021222324         Page 204205206207208209210211212213214215216217218219220221222223224 of 592

He said, “Why?”

I said, “I want to show you a movie.”

He said, “Okay.”

I showed him the movie, and I could see when the lights came on that he was wiping away tears from his eyes. I said, “How do you like it?”

He said, “Gee, it's very nice, very good.”

“Do you think that the Times would be interested?”

“No, not really.” You know, labor films. He goes back and he calls me up about a half hour later. He says, “Moe, you have any photographs from that film that you showed me?”

So I said, “Yeah, I think I took some photographs.” I'm running around. I didn't have photographs of the film. I had photographs that were very much like what was in the film, like this one. See? This was at the rally at the end of the 1962 strike, where everybody spoke, including Malcolm X. Malcolm X is in the film, too. So I say, “Sure.”

He says, “I'll send over a messenger.” We're right nearby; we're on 45th Street at that time.

I say, “Peter, what are you going to do?” He says, “Well, the desk is interested.” The story comes out in the Times, this story with this picture in the cultural review section.

In the arts section.

In the arts section, not in the labor section. Like in the movies.

Like a movie review.

Yes. I had already agreed with Brandon Films that they had first crack at distribution, because Tom Brandon was a guy who had done labor films in the Thirties. Peter Brandon is his son; he's an organizer for the UE.

No, he's an organizer for ACTU, last I heard.

For ACTU now? They all switch around.

So they distributed it. Once this thing happened, I arranged for a screening at the union. Jimmy Wechsler came and did this column. Among the people who were there was Arthur Schlesinger, who was a film buff and who liked it very much. I asked him if he would give us a