What is it about some directors and stars that make them follow up their biggest hits with misleadingly titled movies that just set them up for audience disappointment? Audiences seeing a film called Sorcerer from the director of The Exorcist advertised with a grimacing statue probably weren't too thrilled to find a thriller about truck drivers in South America and an audience lured into a film called F.I.S.T. by posters of Sly Stallone, fresh from Rocky, wielding an axe handle at the head of a mob probably weren't best pleased to find they'd bought a ticket to a drama about the growth and corruption of the American union movement. F.I.S.T. in this case stands for Federal Inter-State truckers - not, absolutely not, the Teamsters - and Stallone plays the union organiser who brings the mob in to win a strike only to find he can't get them out who absolutely isn't Jimmy Hoffa even if he does end up as a question mark on a bumper sticker.
Directed by Norman Jewison from a Joe Esterhas script with cinematography by Lazlo Kovacs, it's an admirably ambitious film. Charting the union from its days as hungry men with no rights to fat men by the pool with young girls who aren't their wives as the small group of bullied workers in the 30s grows into the biggest bully on the block by the 60s when Stallone comes up against Rod Steiger's racket busting senator, it's strangely lacking in punch or impact. There are good scenes and some inspired casting - not least Kevin Conway in the kind of role Brian Donlevy would have played in the 30s and 40s - but it often feels flat and underdeveloped. Jewison manages to keep Steiger and Peter Boyle's performances in check, but he's less successful with Stallone. Still in the period when he wanted to be the next Brando rather than the first Arnie, the star does some good work but loses some of his potentially best moments by incoherent mumbling or inaudible whispering under his breath that makes stretches of dialogue incomprehensible without subtitles. Still, it's nice to see De Mille regular Henry Wilcoxen as a blithely patronisingly patrician boss and Bill Conti's sweepingly epic score is impressive even if some of the music editing does it no favors.
On the subject of edits, the US DVD is the uncut 145-minute version - avoid the European DVDs, which are the cut 131-minute international version.