Abstract
The Hand That Feeds is a compelling documentary that follows a group of undocumented workers who make the high-risk decision to form a union and demand fair treatment in their workplace. With live footage from the beginning to end of the growing movement; interviews with the workers; and occasional clips from radio shows, including National Public Radio and Democracy Now!, this documentary is a powerful film that is sure to engage undergraduate students in a variety of sociology courses. Since the video is in both Spanish and English, professors have the option of providing English, Spanish, or bilingual subtitles. Helpfully, the video has both a theatrical version, which runs for 84 minutes, and a classroom version, which runs for 56 minutes.
Although there is a cast of characters, much of the film focuses on Mahoma Lopez, an undocumented Mexican immigrant with a young family, who acts as the humble leader of the group. Mahoma and his coworkers are employed at Hot and Crusty, a prominent New York establishment. However, as viewers soon learn, the conditions of their workplace are less than desirable: employees are not paid for the hours they work, the equipment is broken and dangerous, and the management lacks basic respect for the laborers of the establishment. Encouraged by members of the Laundry Worker’s Center, an organization that fights for fair treatment in laundry and food services, the workers make the risky decision to organize and fight for their rights as laborers. Their demands are very basic but important: minimum wage, overtime, paid vacation, safe conditions, and respect. Tellingly, Mahoma calls this “una lista de sueños,” or a list of dreams.
It is clear from the beginning that the Hot and Crusty workers are not activists and know little about the activist world—and it is clear that their undocumented status creates even greater fears and risks as they move forward. Outside of the workplace, we see that organizing causes tension for many in their homes. Mahoma’s wife does not support his effort. She feels that organizing is against some of her religious beliefs, she fears for her husband’s safety, and she laments that his efforts are taking him away from their home. Other workers discuss the risks they are taking, including Margarito Lopez, a dishwasher who is trying to get his youngest daughter through college and is aware of his heightened vulnerability as a much older undocumented worker.
Yet, despite these risks, Mahoma and his coworkers move forward, starting their campaign slowly and working with outside activists to begin the arduous process of garnering support and attention. We watch the workers in humble beginnings, passing out flyers with their demands and gaining support from other establishments. With little movement, they must soon escalate their efforts, passing out pictures and names of management—and finally management agrees to listen. Yet, the changes the management is willing to make are not substantive, and the workers, emboldened, continue to fight.
Throughout the film, we witness the real-life roller-coaster of union organizing. We celebrate as the workers win their union vote but quickly learn that the fight has only begun.
We watch the power struggle unfold as tensions rise, the stakes are heightened, and alliances are broken. The workers are eventually forced to occupy their own workplace; and through protests, perseverance, and creativity, the workers win their fight: under new management, Hot and Crusty reopens and the workers victoriously sign a new contract, which includes union hires, paid vacation, and sick days.
This is an optimistic end paired with a solemn reminder. The filmmakers take us to the reopening of the Hot and Crusty store, where employees are smiling as they prepare food and work the register. One worker asks the camera, laughingly, “What do we occupy next?” And the filmmakers give us that answer. Viewers are reminded that laborers—often immigrants—make our cities run: the camera flashes from city streets to popular city establishments, showing people of all walks of life doing the labor that makes the city work. And finally, we see Mahoma marching in solidarity with McDonald’s workers. He is quoted by his wife, stating, “You cannot be afraid to lift your voice and express your opinion, because you have the right to do it.” The Hot and Crusty employees have been emboldened by the spirit of labor organizing, and the audience is compelled to think of its own role in this movement, as well.
The Hand That Feeds would be an exciting documentary to use in an undergraduate course, particularly one focusing on the sociology of work or social movements. The film could even supplement some classic Marxist text in an introductory course or a classical theory course. One important discussion prompted by this film is the question of decent work. What do students believe is a laborer’s right? The workers in the film provide a list of demands, which could be useful to promote students’ thinking on what qualifies as decent work. Another powerful aspect of the documentary is watching the step-by-step process the workers go through to realize their demands. Students could be asked to outline the process the undocumented workers from the film went through to create their union and demand rights, which could lead to a discussion about how universal this process is and what the similarities and differences are in different work settings. Students could also be asked to list the ways in which they see the workers attempt to unionize as being complicated or thwarted by institutionalized and individualized obstacles, such as family support, undocumented laborers’ fear of arrest and unemployment, and the employer’s fear tactics. Again, an important discussion could arise regarding the specific threats for these workers in this location and the universal elements of labor organization. In addition to the almost how-to quality in the film, this documentary introduces other discussion topics, such as the pros and cons of having outsiders fight for a cause. More advanced students could think through power in social justice movements, looking at how intersections of identity complicate the interpersonal politics of even progressive campaigns.
Another powerful way to discuss the film is to help students put it into historical context. Using historical material from the early labor movements, students can be asked to discuss how labor unions have improved the quality of work over time as well as the similarities and differences in today’s unionizing practices. Some possible archival documents that are easily accessible online include a record of proceedings from both the general assembly of the Knights of Labor (1878), which documents one of the first national labor union conventions, and the American Federation of Labor (1915). An e-book of George E. McNeil’s (1892) The Labor Movement: The Problem of To-Day is also accessible for students and includes multiple possibilities for a historical comparison that parallels the film. For example, chapter 19, “Declaration of Principles of the Knights of Labor,” documents the complaints of that union; and the appendix “Cigar-Makers International Union” documents the history of cigar makers’ organizing and protesting. Both of these provide fascinating historical comparisons that will surely illuminate to students the historical importance of union organizing in today’s labor movement.
The film closes with a quote from Mahoma: “There is no justice unless you make your own.” This is, indeed, the crux of the film and the inspirational element that stays with the viewers. I believe that students will be moved by this film to look at labor differently and consider their own role in supporting workers’ rights.