a union local president. In the film he plays the protagonist, who has trouble dealing with women as equals. The director was reluctant to cast him at first, thinking he was too "gentle", but both Revueltas and the director's sister-in-law, Sonja Dahl Biberman, wife of Biberman's brother Edward, urged him to cast Chacón as Ramon. The film was denounced by the United States House of Representatives for its communist sympathies, and the FBI investigated the film's financing. The American Legion called for a nationwide boycott of the film. After its opening night in New York City, the film languished for 10 years because all but 12 theaters in the country refused to screen it. By one journalist's account: "During the course of production in New Mexico in 1953, the trade press denounced it as a subversive plot, anti-Communist vigilantes fired rifle shots at the set, the film's leading lady Rosaura Revueltas was deported to Mexico, and from time to time a small airplane buzzed noisily overhead ... The film, edited in secret, was stored for safekeeping in an anonymous wooden shack in Los Angeles." Reception Critical response With McCarthyism in full force at the time of release, the Hollywood establishment did not embrace the film. Pauline Kael, who reviewed the film for Sight and Sound in 1954, panned it as a simplistic left-wing "morality play" and said it was "as clear a piece of Communist propaganda as we have had in many years." Bosley Crowther, film critic for The New York Times, reviewed the picture favorably, both for its screenplay and direction, writing: "In the light of this agitated history, it is somewhat surprising to find that Salt of the Earth is, in substance, simply a strong pro-labor film with a particularly sympathetic interest in the Mexican-Americans with whom it deals....But the real dramatic crux of the picture is the stern and bitter conflict within the membership of the union. It is the issue of whether the women shall have equality of expression and of strike participation with the men. And it is along this line of contention that Michael Wilson's tautly muscled script develops considerable personal drama, raw emotion and power." Crowther called the film "a calculated social document". Michael Wilson, who worked under a nom de plume for some years afterwards, later won an Academy Award for the screenplay of Bridge on the River Kwai (1957). The review