Norma Rae (A- or 3.5/4 stars)
'Norma Rae' (directed by Martin Ritt, of Hud, Sounder) is a two-time Academy Award-winning 1979 drama starring Sally Field in the titular role of an underpaid single mom/textile worker-turned-union organizer at a time when unions were synonymous with trouble. At the onset of the story, we see that conditions in Norma Rae's small southern mill town plant are pretty awful: low wages, lonnggg hours, & minimal health precautions. Reuben Warshovsky (Ron Leibman), a bold, dedicated labor union organizer, arrives from NYC to help the poorly treated workers. It's a tough job; since the textile industry loathes unions. Warshovsky IS able to win-over Norma Rae to his crusade; seeing that she is a feisty mom who is impressed with his idealism.
She tells him about her MANY unlucky dalliances with men and, offers him ideas about how to communicate more effectively with people at the plant. When upper management learns of Norma Rae's involvement with Warshovsky, they woo her back to them with a promotion. But she realizes that this jeopardizes her friendships with the workers & returns to her old position to fight; hoping that the union can give them all a chance for a better life. Even though it puts great pressure on her new marriage to jealous, loathsome Sonny (Beau Bridges), she is hell bent on her convictions. Norma Rae's strength is depleted when her beloved father (Pat Hingle) dies of a heart attack & rumors of her illegitimate kids {+ 'loose' way of living} fly around town. But she realizes that the pressures at the plant are what killed her father and, she bucks up. In a very affecting scene, Norma Rae tells her 2 kids about their different fathers. Union drama & empowering victory ensues.
Martin Ritt's inspiring drama is commendably warm, if also sentimental. But that didn't bother me, as it really connects with our emotions {Norma Rae raise her arms in victory is iconic}. Ritt tackles the subject of unions with earnestness and wisely focuses on the varying characters rather than abstraction contemplations that aren't a crux of the plot. The characters are well-developed & realistically flawed; none more so than Sonny. Field gets the meatiest film in her early career, here. I loved her chemistry with Reuben, as well. There's is a platonic friendship, but there is a distinct carnal energy about them that they channel into something productive, yet not sexual; I loved that. She brings him down a peg, and he introduces her to the ardors of idealism.
I dug Ron Leibman's portrayal of Reuben; brimming with wit & intensity. He is decidedly not in his element in this community, yet manages to get his message across. In the end when he & Norma Rae part, you just know that they will always carry each other in high regard; each part of the other's past, present & future. I didn't love the overly yellow & brown color palette of the film; too murky; but I suppose Ritt was going for gritty realism. I also don't think this story warranted the nearly 2 hour run time. Having said all of that, I was pretty transfixed by the human drama throughout; it's the kind of involving movie that 'they just don't make anymore'. And watching Sally Field accept her Oscar win for this film is fantastic -- well-deserved.
She tells him about her MANY unlucky dalliances with men and, offers him ideas about how to communicate more effectively with people at the plant. When upper management learns of Norma Rae's involvement with Warshovsky, they woo her back to them with a promotion. But she realizes that this jeopardizes her friendships with the workers & returns to her old position to fight; hoping that the union can give them all a chance for a better life. Even though it puts great pressure on her new marriage to jealous, loathsome Sonny (Beau Bridges), she is hell bent on her convictions. Norma Rae's strength is depleted when her beloved father (Pat Hingle) dies of a heart attack & rumors of her illegitimate kids {+ 'loose' way of living} fly around town. But she realizes that the pressures at the plant are what killed her father and, she bucks up. In a very affecting scene, Norma Rae tells her 2 kids about their different fathers. Union drama & empowering victory ensues.
Martin Ritt's inspiring drama is commendably warm, if also sentimental. But that didn't bother me, as it really connects with our emotions {Norma Rae raise her arms in victory is iconic}. Ritt tackles the subject of unions with earnestness and wisely focuses on the varying characters rather than abstraction contemplations that aren't a crux of the plot. The characters are well-developed & realistically flawed; none more so than Sonny. Field gets the meatiest film in her early career, here. I loved her chemistry with Reuben, as well. There's is a platonic friendship, but there is a distinct carnal energy about them that they channel into something productive, yet not sexual; I loved that. She brings him down a peg, and he introduces her to the ardors of idealism.
I dug Ron Leibman's portrayal of Reuben; brimming with wit & intensity. He is decidedly not in his element in this community, yet manages to get his message across. In the end when he & Norma Rae part, you just know that they will always carry each other in high regard; each part of the other's past, present & future. I didn't love the overly yellow & brown color palette of the film; too murky; but I suppose Ritt was going for gritty realism. I also don't think this story warranted the nearly 2 hour run time. Having said all of that, I was pretty transfixed by the human drama throughout; it's the kind of involving movie that 'they just don't make anymore'. And watching Sally Field accept her Oscar win for this film is fantastic -- well-deserved.