One of the Hollywood Ten

At the 1937 Academy Awards in Los Angeles, Gale Sondergaard wins the first Best Supporting Actress Oscar. Her acceptance speech is interpreted by some as a bold anti-Fascist gesture. The moment fuels controversy that leads to her and her husband Herbert Biberman being placed under contract by Warner Bros.

As the era grows colder for left-leaning artists, Biberman’s Jewish identity and politics draw increased scrutiny. The circle around Sondergaard and Biberman comes under pressure, with whispers of disloyalty reverberating through studios. The atmosphere of fear begins to shape future projects and careers.

Biberman and Sondergaard decide to pursue a labor-centered screenplay about the Empire Zinc strike (1950-51) in Bayard, New Mexico, written by Michael Wilson. They envision a director’s lens revealing workers’ resilience and a social conscience. The project signals a deliberate move away from conventional studio fare.

The proposed lead, Esperanza Quintero, would deliver a forceful, empathetic portrayal of the miners’ community. The project emphasizes cast authenticity—reflecting miners and their families rather than studio stars. This framing anchors the film in real-life labor struggle.

Biberman agrees to cast ethnic actors in major roles and pushes back against the industry’s fear of blacklist-era retribution. With no studio backing, the production pivots toward a community-based model. The project becomes a bold, on-the-ground undertaking rather than a traditional shoot.

Grant County residents are invited to join the crew, bringing local knowledge and grit to every scene. Members of the International Union of Mine, Mill and Smelter Workers Local 890 become part of the process. The collaboration blurs the line between filmmaker and community.

The fiery Ramon Quintero and Esperanza Quintero are anchored by Juan Chacón and Rosaura Revueltas, grounding the film in real human experience. On-location shoots in New Mexico intensify the emotional core. The performers’ ties to the community deepen the project’s authenticity.

Will Geer participates onscreen, represented as Larry Geer in a rare departure from standard studio casting. His involvement helps bridge professional acting with community engagement. The on-set dynamic underscores the film’s hybrid nature of talent and locals.

As filming progresses, the FBI intensifies its scrutiny—investigators probe financing, attempt to seize the negatives, and pressure film laboratories not to process the work. The climate of suspicion adds a constant undercurrent of danger to the production. The project becomes as much a battle against censorship as a film shoot.

Local resentment toward outsiders grows, and arson threats target sets in Grant County. The era’s fear tests the crew’s resolve, yet the production continues despite intimidation. The community’s courage becomes part of the film’s narrative arc.

Rosaura Revueltas faces deportation on spurious charges, illustrating the real risks artists face for their beliefs. The threat disrupts logistics and raises the stakes for the project. Her endurance becomes a symbolic thread within the evolving story.

The film completes with on-site shooting in New Mexico and inserts filmed in Mexico. Revueltas’s scenes are stitched into the final cut and smuggled back into the United States to preserve their integrity. The finished work stands as a testament to endurance, artistic integrity, and a commitment to untold stories.

The completed film foregrounds the tension between art and danger, and the loyalty to friends versus responsibility to a broader community. It celebrates the miners’ wives, local workers, and courageous filmmakers who chose courage over compromise. The result is cinema that serves social conscience and resists censorship.