Emma Goldman has just arrived in New York City to join a small group of anarchists. She is excited to meet Johann Most, a left wing newspaper publisher, who is renowned within the movement. His primary mantra is espousing the eight hour work day. But as Emma becomes more involved with Most in both a personal sense and for the cause, it brings up the idealistic struggles within the movement between someone like Most who has the ear of the public, and Sasha Berkman, a younger anarchist who has his own thoughts about how best to forward the cause. Berkman, with who Emma would begin a personal relationship, believes that assassinating steel magnate Henry Clay Frick - who many see as the puppet for industrialist Andrew Carnegie - over the Homestead Steel strike would send an important message, one that Most believe foolish. From this struggle would emerge Emma's own voice within the cause.—Huggo
Carol Bolt's radiant celebration of the life and times of Emma Goldman, the revolutionary anarchist, is dazzlingly captured in a hand-held adaptation of her stage play with the original cast. Red Emma is a model of how to translate the emotional vitality of theatre to film.