Fonte:WIKIPEDIA(texto não revisto)Norma Rae (Sally Field) em luta pela formação do sindicato[ veja em video aqui uma cena de Norma Rae e aqui um pequeno filme sobre Sally Field]Sinopse de Norma RaeEm 1978, em Hinleyville, uma pequena cidade no sul dos Estados Unidos, a maioria da população trabalha em uma indústria têxtil, cujas condições de trabalho são péssimas. Lá também trabalha Norma Rae, uma mãe solteira que vive com os pais, e que também são operários da fábrica. De repente, chega de Nova Iorque o sindicalista Reuben Warshowsky, que procura um lugar na casa de uma família para morar. Norma Rae e Vernon acabam amigos e ele passa a influenciá-la para que se engaje na luta sindical. Paralelamente, Norma Rae se casa com Sonny Webster, que entende sua luta pela criação do sindicato, mas fica inseguro pois ela passa muito tempo com Reuben. O filme Norma Rae é baseado na história real de Crystal Lee Sutton, que liderou uma campanha contra as condições de trabalho oferecidas pela empresa J.P. Stevens Mill. Sally Field e Martin Ritt durante as filmagensde Norma RaeMartin Ritt (1914– 1990) was an American director, actor, and playwright who worked in both film and theater. He was born in New York City.Early Career and influencesRitt originally attended and played football for Elon College in North Carolina. The stark contrasts of the depression-era South, against his New York City upbringing, intilled in him a passion for expressing the stuggles of inequality, which is very apparent in the films he directed. After leaving St. John's University, Martin Ritt found work with a theater group, and it was not long before he was offered a role acting in plays. His first performance was as Crown in Porgy and Bess. After his performance drew favorable reviews, Ritt concluded that he could "only be happy in the theater." Ritt then went to work with the Roosevelt administration's New Deal Works Progress Administration as a playwright for the Federal Theater Project, a federal government-funded theater support program.With work hard to find and the Depression in full effect, many WPA theater performers, directors, and writers became heavily influenced by the radical left and Communism, and Ritt was no exception. Years later, Ritt would state that he had never been a member of the Communist Party, although he considered himself a leftist and found common ground with some Marxist principles.Ritt moved on from the WPA to the Theater of Arts, then to the Group Theater of New York City. It was at the Group Theater that he met Elia Kazan. Kazan cast Ritt as an understudy to his play Golden , and Ritt soon began acting. Ritt’s social consciousness and political views continued to mature during his time with the Group Theater, and would influence the social and political viewpoint that Ritt would later attempt to express in his films.During World War II, Ritt served with the U.S. Army Air Forces and appeared as an actor in the Air Forces' Broadway play and film Winged Victory. During the Broadway run of the play, Ritt directed a production of Sidney Kingsleys play Yellow Jack, using actors from Winged Victory and rehearsing between midnight and 3 a.m. after Winged Victory performances. The play had a brief Broadway run and was performed again in Los Angeles when the Winged Victory troupe moved there to make the film version.Television and the BlacklistAfter working as a playwright with the Works Progress Administration, acting on stage, and directing hundreds of plays, Ritt became a successful television director.In 1952, Ritt was acting, directing, and producing teleplays and television programs when he was caught up by the Red Scare and investigations of communist influence in Hollywood and the movie industry. Although not directly named by the House Un-American Activities Committee (HUAC), Ritt was mentioned in an anti-communist newsletter called Counterattack, published by American Business Consultants, a group formed by three former FBI agents.Counterattack alleged that Ritt had helped Communist Party-affiliated locals of the New York-based Retail, Wholesale and Department Store Union stage their annual show. Also cited was a show he had directed for Russian War Relief at Madison Square Garden. His associations with the Group Theater, founded on a Russian model, and the Federal Theater Project (which Congress had stopped funding in 1939 because of what some anti-New Deal congressmen claimed to be a left-wing political tone to some productions), were also known to HUAC. He was finally blacklisted by the television industry when a Syracuse grocer charged him with donating money to Communist China in 1951.
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Fonte:WIKIPEDIA(texto não revisto)Norma Rae (Sally Field) em luta pela formação do sindicato[ veja em video aqui uma cena de Norma Rae e aqui um pequeno filme sobre Sally Field]Sinopse de Norma RaeEm 1978, em Hinleyville, uma pequena cidade no sul dos Estados Unidos, a maioria da população trabalha em uma indústria têxtil, cujas condições de trabalho são péssimas. Lá também trabalha Norma Rae, uma mãe solteira que vive com os pais, e que também são operários da fábrica. De repente, chega de Nova Iorque o sindicalista Reuben Warshowsky, que procura um lugar na casa de uma família para morar. Norma Rae e Vernon acabam amigos e ele passa a influenciá-la para que se engaje na luta sindical. Paralelamente, Norma Rae se casa com Sonny Webster, que entende sua luta pela criação do sindicato, mas fica inseguro pois ela passa muito tempo com Reuben. O filme Norma Rae é baseado na história real de Crystal Lee Sutton, que liderou uma campanha contra as condições de trabalho oferecidas pela empresa J.P. Stevens Mill. Sally Field e Martin Ritt durante as filmagensde Norma RaeMartin Ritt (1914– 1990) was an American director, actor, and playwright who worked in both film and theater. He was born in New York City.Early Career and influencesRitt originally attended and played football for Elon College in North Carolina. The stark contrasts of the depression-era South, against his New York City upbringing, intilled in him a passion for expressing the stuggles of inequality, which is very apparent in the films he directed. After leaving St. John's University, Martin Ritt found work with a theater group, and it was not long before he was offered a role acting in plays. His first performance was as Crown in Porgy and Bess. After his performance drew favorable reviews, Ritt concluded that he could "only be happy in the theater." Ritt then went to work with the Roosevelt administration's New Deal Works Progress Administration as a playwright for the Federal Theater Project, a federal government-funded theater support program.With work hard to find and the Depression in full effect, many WPA theater performers, directors, and writers became heavily influenced by the radical left and Communism, and Ritt was no exception. Years later, Ritt would state that he had never been a member of the Communist Party, although he considered himself a leftist and found common ground with some Marxist principles.Ritt moved on from the WPA to the Theater of Arts, then to the Group Theater of New York City. It was at the Group Theater that he met Elia Kazan. Kazan cast Ritt as an understudy to his play Golden , and Ritt soon began acting. Ritt’s social consciousness and political views continued to mature during his time with the Group Theater, and would influence the social and political viewpoint that Ritt would later attempt to express in his films.During World War II, Ritt served with the U.S. Army Air Forces and appeared as an actor in the Air Forces' Broadway play and film Winged Victory. During the Broadway run of the play, Ritt directed a production of Sidney Kingsleys play Yellow Jack, using actors from Winged Victory and rehearsing between midnight and 3 a.m. after Winged Victory performances. The play had a brief Broadway run and was performed again in Los Angeles when the Winged Victory troupe moved there to make the film version.Television and the BlacklistAfter working as a playwright with the Works Progress Administration, acting on stage, and directing hundreds of plays, Ritt became a successful television director.In 1952, Ritt was acting, directing, and producing teleplays and television programs when he was caught up by the Red Scare and investigations of communist influence in Hollywood and the movie industry. Although not directly named by the House Un-American Activities Committee (HUAC), Ritt was mentioned in an anti-communist newsletter called Counterattack, published by American Business Consultants, a group formed by three former FBI agents.Counterattack alleged that Ritt had helped Communist Party-affiliated locals of the New York-based Retail, Wholesale and Department Store Union stage their annual show. Also cited was a show he had directed for Russian War Relief at Madison Square Garden. His associations with the Group Theater, founded on a Russian model, and the Federal Theater Project (which Congress had stopped funding in 1939 because of what some anti-New Deal congressmen claimed to be a left-wing political tone to some productions), were also known to HUAC. He was finally blacklisted by the television industry when a Syracuse grocer charged him with donating money to Communist China in 1951.