Saturday, June 18, 2005

Stephen Farber

“Yet the film will be remembered for something beside its subject matter. It will also earn a place in film history as the movie that made Sally Field a star [fill in ellipse:]…. Norma Rae is the first feature that she has to carry all by herself. She does it triumphantly. As a poor but defiant working girl who becomes a leader in the union battles, Field etches a rich, vibrant portrait. There are scene in this movie that are going to be studied in acting classes years from now--like Norman's fiery protest in the factory, or a heart-rending scene in which she drags her children out of bed and tries to explain to them why she's been arrested. But it isn't acting alone that makes a star. Field has an instant, unbreakable rapport with the audience; she's funny, sexy, passionate, absolutely spellbinding.

“…. Norma Rae does at times resort to simplification and idealization of its characters….

“…. In the later scenes between Norma and Reuben, Sally Field is eloquent in expressing her aching, half-conscious love for Reuben. But we don't know what Reuben is feeling…. There's a touch of condescension that creeps into Reuben's dealings with Norma. This couldn't have been intended; it's a failure in [Ron Leibman's] performance.

“Despite this miscalculation, Norma Rae deserves praise for its force and compassion. And Sally Field's performance will be hard to top when 1979's acting awards are handed out.”

Stephen Farber
New West, March 12, 1979

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