Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary »
In eighteenth century England, "first cousins" Tom Jones and Master Blifil grew up together in privilege in the western countryside, but could not be more different in nature. Tom, the ... See full summary »
Stuck as the last of six children at home with an overbearing Italian mother, the only child still unmarried, 34 year old socially awkward Bronx butcher Marty faces middle age with no prospects of marriage, and he faces permanent bachelorhood. But when he is goaded by his mother into going to the Stardust Ballroom one Saturday night, Marty unexpectedly meets Clara, a lonely teacher. Suddenly, Marty's future seems bright. Winner of Best Picture of 1955, Best Adapted Screenplay for Paddy Chayefsky, Best Director for Delbert Mann, and Best Actor for Ernest Borgnine. Written by
Delbert Mann had no idea who to cast in the lead role, so asked his friend Robert Aldrich. Aldrich immediately suggested Ernest Borgnine. Mann was skeptical, as Borgnine was only known for playing heavies, but Aldrich convinced him. Borgnine regularly says that he owes his career to Robert Aldrich. See more »
When Marty and Clara step onto the bus, the shadow of the boom mic is visible on the bus as it pulls away. See more »
Ma, sooner or later, there comes a point in a man's life when he's gotta face some facts. And one fact I gotta face is that, whatever it is that women like, I ain't got it.
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Despite having only the most basic of story-lines, this is a nicely-crafted movie with a worthwhile story. Ernest Borgnine deserves the praise he has received for his performance as "Marty", and he seems very natural in the part, for all that it seems so different from most of his other roles. The other characters are also rendered believably, and events develop naturally. While the two main characters may think of themselves as failures, viewers can see that they are just ordinary persons trying to be honest and sensitive, and this makes it easy to identify with them.
The story efficiently introduces Marty and the other characters, showing how he interacts with them. Since the others are all so absorbed in their own concerns, they view Marty solely in terms of how he fits in with their own plans and desires, again making it easy for the viewer to relate to him. Joe Mantell, Esther Minciotti, Augusta Ciolli, and Jerry Paris make Marty's family and friends thoroughly believable, and they work well in their interactions with Borgnine. By the time that Marty meets Clara (Betsy Blair), everything is set up so as to get the most out of the possibilities.
Praise also goes to Delbert Mann and Paddy Chayefsky for being willing to make a movie out of such low-key material. It may not impress those who have become benumbed by the ostentation of present-day film-makers, since its quality is of a subtler, more unaffected kind. But it's a worthwhile achievement in its own right, a story about ordinary persons and everyday concerns, of the kind that takes skill and understanding to make well.
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