The loons are back again on Golden Pond and so are Norman Thayer, a retired professor, and Ethel who have had a summer cottage there since early in their marriage. This summer their ... See full summary »
Norma Rae is a southern textile worker employed in a factory with intolerable working conditions. This concern about the situation gives her the gumption to be the key associate to a visiting labor union organizer. Together, they undertake the difficult, and possibly dangerous, struggle to unionize her factory. Written by
Kenneth Chisholm <email@example.com>
When Norma's father suffers a heart attack on the job, we see him as the first symptoms start until he collapses onto the textile mills floor. The problem here is that as he enters the first stages of his coronary, he grasps his RIGHT arm rather than his left. Anatomically, the nerve conduction with regards to a cardiac event, target the left arm - except in cases of extremely rare congenital abnormality (i.e. dextrocardia). See more »
I know the first time you're in is bad. It comes with the job. I saw a pregnant women on a picket line get hit in the stomach with a club. I saw a boy of 16 shot in the back. I saw a guy blown to hell and back when he tried to start his car in the morning. You just got your feet wet on this one.
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More than one actress's tour-de-force, an indelible and moving human story
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 ****
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