Norma Rae

Although based on real events and a real person, "Norma Rae's" tale of corporate greed versus oppressed workers has been fictionalized for reasons of privacy. However, fictionalized or not, "Norma Rae's" power and influence continue since the U.S. textile industry has forever been branded in the minds of Americans as an outmoded industrial complex, whose windowless mills are filled with the deafening noise of hand-tended machines that are layered with cotton fibers and whose workers breathe in and permanently damage their lungs with stale air that is filled with cotton dust. Although those conditions certainly did exist, they no longer occur in that industry today. However, despite the modernization of textile manufacturing in the U.S. over the past couple decades, the image of the noisy, dusty mill that is depicted in the film remains as the general perception of a textile operation. Unfortunately, while modern textile mills are free of cotton dust and the noise levels have been reduced to the low hum of computers, textile workers like Norma Rae and the others portrayed in this film have also been replaced with robotics, lasers, and a few highly skilled technicians to monitor the computerized operations. While the unionization depicted in the film successfully raised wages and increased benefits, eventually those higher costs led to efforts to cut expenses through mechanization.

However, despite the demonizing of an industry, the film retains its power, and the story of Norma Rae's personal growth as a woman is probably even more memorable than the efforts to unionize one Southern textile mill. Sally Field inhabits the role of an unwed Southern mill worker with two children, and, as the film progresses, she slowly evolves from an aimless girl, who is used and abused by men, whether they be lovers or employers, into a mature woman who finds a depth and strength that helps her take control of her life and find the confidence to lead. Television viewers who only knew Field as the Flying Nun were surprised at her range and depth, although those who had taken the time to watch the television movie "Sybil" already suspected the breadth of her talent.

While Sally Field finally shed her Gidget and Flying Nun image with this film and certainly is the emotional core of the movie, she is well supported by a cast of pros, especially the two most important men in her life. Unfortunately, because Field is so outstanding, viewers will likely need a second viewing to appreciate just how good both Ron Leibman and Beau Bridges are in "Norma Rae." Ron Leibman as the assertive union organizer from New York is the man who awakens Norma's intellect and propels her into uncharted territory as a woman. Meanwhile, Beau Bridges as Norma Rae's gentle, understanding husband stands by his woman despite his not completely comprehending or appreciating the changes that are underway in his wife's character.

"Norma Rae" is an outstanding film, well directed by Martin Ritt, beautifully written by Frank and Ravetch, and performed with heart by Field, Leibman, and Bridges. Although the movie has probably stained the image of the U.S. textile industry for good, "Norma Rae" also established Sally Field as an actress of the first order and remains an engrossing human story of a woman's growth into maturity and her discovery of previously unrealized potential within herself.

Typical under-dog story that is so well-made that its success makes for a very memorable cinematic experience. The titled character (Sally Field in a super Oscar-winning part) tries to get her fellow textile workers to unionize in her small town, but there are consequences abound. A good supporting cast which includes Ron Leibman, Pat Hingle and Beau Bridges all add to Field's show-stopping performance. Field proved that she could handle delicate material and carry a film to cinematic history. 4.5 out of 5 stars.

In trying to get the textile mill she and her family work for unionized, Sally Field's Norma Rae Webster also tries to earn self-respect at any cost. She's been leading a dead-end existence: a single mother, still living with her family, sleeping with married men who abuse her. But after being inspired by a union-organizer (Ron Liebman, in an Oscar-worthy supporting performance), Norma Rae is awakened to the possibilities of life, and, what's more, everything that is wrong with the mill that seems to suck the energy and hope from those who stand there day after day trying to earn an honest dollar. There are problems with the picture: Beau Bridges' role as new husband Sonny is treated in a trivial manner (he's supposed to be a voice of reason, but he's too smooth, maybe condescending, and it's an unconvincing character); Oscar-winner Field's fiestiness occasionally feels overdrawn and/or one-note, but in many of the scenes outside the factory she does indeed excel, seeming vibrantly natural and exuberant. Martin Ritt's direction is focused and firmly rooted (he never sugarcoats Norma Rae's character, and sometimes she's not that likable) and the script manages to sidestep preachiness to get its points across entertainingly. The art direction is really the second star of the film: vivid, palpably hot and sweaty, with bits of cotton floating about in the air. The mill in question becomes very familiar to us, as do the people who work there. "Norma Rae" is involved and long, yet it is memorably bittersweet, and with a simple, haunting finish. *** from ****

Sally Field's first Oscar came way via "Norma Rae."

The factory where she and her dad work does not know or want to know about unions. Workers are routinely abused and there is no way out for these hard-working laborers.

Along comes Jewish Ron Leibman, from the north, with the idea of forming a union. He meets up with much hostility. We see the southern hatred of unions in general and there is an underlining feeling of anti-Jewishness here as Jews have always been in the forefront of labor issues in America.

Pat Hingle's fatal coronary spurs daughter Norma to action. Her stopping work and turning around with the sign union is memorable.

This picture is timely due to the rash attacks on the labor movement from the federal government on down to management. Made at a time when President Reagan destroyed the Air Traffic Controller's Union, the film is most appropriate.

It's the summer of 1978. Norma Rae (Sally Field) works in a textile mill with her whole family. Her mother is going deaf from the noisy factory. Her father Vernon (Pat Hingle) threatens union organizer Reuben Warshowsky (Ron Leibman) who comes knocking on their door. She's a single mom and she ends her affair with a married man. She marries fellow worker Sonny (Beau Bridges). She starts helping Reuben causing tension in her relationships.

Sally Field is brilliant as an ordinary woman. She is eminently likable. The movie is a straight forward union story. It has a good sense of realism. It helps to have the noisy mill going. It's a great movie.