John Sayles Criticism
John Sayles is a multifaceted American artist whose work spans both literature and film, capturing the intricate social dynamics of American life. With a background rooted in psychology and hands-on blue-collar work, Sayles's storytelling reflects a profound engagement with social justice and class struggles. His unique approach is evident in his films, which utilize dialogue-driven narratives and ensemble casts. Sayles eschews mainstream Hollywood glamor in favor of depicting the unvarnished realities faced by 'losers and underdogs,' as noted by critics like Andrew Sarris and further examined by Andrew Kopkind, who emphasizes that Sayles's films serve as mirrors for self-reflection rather than mere escapism.
In both his films and novels, Sayles exhibits a remarkable ability to evoke a strong sense of place, whether it is the urban landscape of Harlem or the rural expanses of the Louisiana bayou. This skill is particularly notable in Lone Star, which intricately examines class distinctions and cultural history, a topic Sayles elaborates on in an interview. Despite their thematic richness, his films have occasionally been critiqued for slow pacing and a predominant reliance on dialogue, as some critics argue they might be better suited for television.
Sayles's literary work, such as the novel Union Dues, is equally compelling. This novel delves into the world of radical political movements and working-class life with authenticity and depth. Greil Marcus commends the novel for avoiding the condescension often found in political fiction of its era, presenting a nuanced portrayal of a young boy's life within a Boston commune. Bruce Allen identifies the authenticity of dialogue and character portrayals, although he critiques the depiction of the characters' futile political endeavors. In contrast, Stephen Fender appreciates the novel's engaging historical style, while Edward McConville argues that it focuses more on personal stories than on political ideals. Nevertheless, Union Dues remains a powerful exploration of the social and political complexities of the 1970s, cementing Sayles's reputation as a storyteller deeply attuned to the nuances of American culture.
Contents
- Principal Works
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Sayles, John (Vol. 198)
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Review of The Brother from Another Planet
(summary)
In the following review, Kopkind contrasts Sayles's film style with the style typical of Hollywood cinema.
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Filmmaking as Storytelling: An Interview with John Sayles
(summary)
In the following interview, Sayles and Aufderheide explore Sayles's approach to filmmaking as a form of storytelling, focusing on how Matewan exemplifies his themes of personal and political intersection, American individualism, and cultural history, while navigating between commercial and independent film practices.
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Solidarity Forever
(summary)
In the following essay, McGhee examines the making of Matewan, outlining the difficulties involved in producing a period film on a shoestring budget.
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Foul Ball
(summary)
In the following essay, Lardner discusses Sayles's Eight Men Out, in which the director plays the role of Lardner's father in the story of the 1919 World Series scandal.
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Review of Matewan
(summary)
In the following review, Black praises the historical accuracy of Sayles's rendering of the Matewan massacre.
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John Sayles and the Fictional Origin of Matewan
(summary)
In the following essay, Isaacs disputes Sayles's account of the connections between his novel Union Dues and the film Matewan.
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Outside and Inside the Law
(summary)
In the following review of Breaking In, Kauffmann contends that Sayles fails to develop the story sufficiently, resulting in a film that is flat and disappointing.
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Blue-Collar Auteur
(summary)
In the following essay, Davis explores Sayles's role as spokesperson for the working class.
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Miami Vice
(summary)
In the following review of Sayles's novel Los Gusanos, Kenan praises the author's story of Miami's Cuban exile community, acknowledging some difficulties with the overly complicated narrative.
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Municipal Bonds
(summary)
In the following review of City of Hope, Kauffmann discusses the shortcomings of Sayles's screenplay and the strengths of the director's cinematic style.
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Interview with John Sayles
(summary)
In the following interview, Sayles and Dreifus explore Sayles's unique approach to filmmaking, highlighting how he maintains creative control over his projects by independently writing, directing, and financing films that delve into often overlooked social and political themes, such as urban politics in "City of Hope" and social class in "Baby, It's You."
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Where the Hope Is: An Interview with John Sayles
(summary)
In the following interview, Sayles, Crowdus, and Quart explore Sayles's use of urban life themes in his film City of Hope, emphasizing political corruption, tribalism, and the challenges of balancing personal morality with political compromise in contemporary society.
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Baby It's You: An Honest Man Becomes a True Filmmaker
(summary)
In the following essay, Sarris explains why he put Sayles's Passion Fish near the top of his Ten Best list for 1992.
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Sayles Talk
(summary)
In the following interview, Sayles and Johnston explore Sayles' independent filmmaking approach, highlighting his process in balancing thematic depth with budgetary constraints while working outside the Hollywood system, and discussing the importance of authenticity, community, and creative freedom in his work.
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The Secret of Roan Inish Is Told with Myth, Magic
(summary)
In the following review, Sterritt contends that in The Secret of Roan Inish, Sayles handles the daily experiences of his characters more skillfully than the story's mythical elements.
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Review of Lone Star
(summary)
In the following review, Klawans criticizes the storytelling technique in Lone Star, suggesting that Sayles is more interested in defying narrative conventions than in telling a good story.
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Review of The Secret of Roan Inish
(summary)
In the following review, Kemp praises The Secret of Roan Inish as a charming story with strong cast performances.
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Who Killed the Sheriff?: John Sayles's Lone Star
(summary)
In the following review, Alleva faults Lone Star for a complicated plot and slow pace, but praises the film overall.
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Re-Touch of Evil
(summary)
In the following review of Lone Star, Combs maintains that Sayles is unable to handle the scope of a story involving so many plots and subplots.
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The Brother from Another Race: Black Characters in the Films of John Sayles
(summary)
In the following essay, Thompson explores Sayles's representation of African Americans in his films, suggesting that the writer/director has consistently avoided stereotypes and created sympathetic characters.
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Review of Lone Star
(summary)
In the following review, West and West discuss Sayles's representation of competing ethnic groups in Lone Star, contending that the film offers a realistic picture of the current state of multicultural America.
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Decency and Muck: The Visions of John Sayles and Oliver Stone
(summary)
In the following essay, Packer compares the careers of John Sayles and Oliver Stone, maintaining that although both filmmakers have leftist political leanings, only Sayles succeeds in conveying his convictions on screen.
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Tex-Sex-Mex: American Identities, Lone Stars, and the Politics of Racialized Sexuality
(summary)
In the following essay, Limόn argues that Lone Star presents a “radical revision” of traditional gender roles in relationships between the Anglo-American and Mexican communities.
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Languages and People Disappeared: The Danger of Men with Guns
(summary)
In the following review of Men with Guns, Berger maintains that Sayles is exploring, within his film, the extent to which individuals acknowledge, and are therefore partially responsible for, the actions of their governments and police forces.
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Forget the Alamo: Reading the Ethics of Style in John Sayles's Lone Star
(summary)
In the following essay, Davis and Womack praise the visual style of Lone Star and discuss the film's handling of the cultural history of a Texas border town.
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Not Playing by the Usual Rules: An Interview with John Sayles
(summary)
In the following interview, Sayles, along with Joan M. West and Dennis West, explores the thematic concerns of his film Limbo, highlighting its use of Alaska's threatening landscape to underscore the tension between ecological preservation and economic development, and discusses the film's characters, their emotional complexities, and the notion of risk as a path out of "limbo."
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Review of Limbo
(summary)
In the following review, Kemp contends that in Limbo, a film about disillusioned outsiders on an island off the coast of Alaska, Sayles has avoided the didacticism that plagued his earlier efforts.
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Review of Casa de los Babys
(summary)
In the following review, Sealy praises the ensemble cast of Casa de los Babys, but notes that the film has “too little momentum to sustain viewer interest.”
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Review of The Brother from Another Planet
(summary)
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Sayles, John (Vol. 14)
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A Revivalist of Realism
(summary)
In the following essay, Vance Bourjaily examines John Sayles as a revivalist of realism in American literature, highlighting Sayles' skillful storytelling in works like "Union Dues" and "The Anarchists' Convention," while noting his attention to detail and a departure from protest naturalism towards a blend of reportorial vigor and impressionism.
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Books in Brief: 'The Anarchists' Convention
(summary)
In the following essay, Edward Butscher examines John Sayles's collection The Anarchists' Convention, highlighting Sayles's ability to transform psychological insights into fiction, while also noting the author's tendency towards sentimentality and praising his plain style and compassionate portrayal of characters.
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Tales of the Working Class
(summary)
In the following essay, Garrett Epps argues that John Sayles's stories in The Anarchists' Convention effectively portray American working-class life, showcasing his talent for vivid dialogue and complex characterization, though some stories suffer from excessive realism or satire, while others powerfully depict human sexuality and societal themes.
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'The Anarchists' Convention'
(summary)
In the following essay, Thomas Lask argues that John Sayles's work, particularly his short story collection "The Anarchists' Convention," effectively showcases his lyrical style and deterministic themes, portraying characters as products of their environment who endure rather than conquer life's challenges, with a realism that eschews the excesses of naturalism.
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A Revivalist of Realism
(summary)
- Sayles, John (Vol. 7)
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Sayles, John (Vol. 10)
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Greil Marcus
(summary)
In the following essay, Greil Marcus argues that Union Dues uniquely captures the complexities and contradictions of radical political movements through its portrayal of a young boy's immersion in a Boston commune, avoiding condescension commonly found in political novels of the era.
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Bruce Allen
(summary)
In the following essay, Bruce Allen explores John Sayles's novel Union Dues, highlighting the authentic dialogue and vivid character portrayal, while critiquing the overemphasis on the self-defeating nature of the characters' political engagements, ultimately recognizing the novel's powerful narrative force and emotional impact on the reader.
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A Separate Peace
(summary)
In the following essay, Edward McConville critiques John Sayles's novel Union Dues for its compelling portrayal of working-class life and its satirical take on middle-class radicals, while arguing that Sayles presents a misleading emphasis on personal over political involvement, neglecting the necessary balance for effective social change.
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Working Model
(summary)
In the following essay, Stephen Fender argues that John Sayles's novel "Union Dues" portrays the 1970s with a critical reflection on the 1960s, highlighting generational tensions and societal shifts, while maintaining an engaging narrative style reminiscent of nineteenth-century novels.
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Greil Marcus
(summary)
- Further Reading