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The Lonely Guy (1984)

 -  Comedy  -  27 January 1984 (USA)
6.2
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Ratings: 6.2/10 from 4,527 users  
Reviews: 34 user | 21 critic

A writer for a greeting card company learns the true meaning of loneliness when he comes home to find his girlfriend in bed with another man.

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Writers:

(book), (screenplay), 2 more credits »
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Cast

Cast overview, first billed only:
...
...
Warren Evans
...
Iris
...
Jack Fenwick
Robyn Douglass ...
Danielle
...
Himself
...
Herself (as Dr. Joyce Brothers)
Candi Brough ...
Schneider Twin
Randi Brough ...
Schneider Twin
Julie Payne ...
Rental Agent
Madison Arnold ...
Lonely Cop
Roger Robinson ...
Greeting Card Supervisor
Dan Hannafin ...
Park Guard (as Daniel P. Hannafin)
...
Sally, Girl in Blood Bank
...
Maitre D'
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Storyline

When shy Larry Hubbard finds his girlfriend in bed with another man he is forced to begin a new life as single. But since he can't bear being on his own he tries to court Iris who is not however interested in him. Larry begins writing a book on his experience as a single which unexpectedly becomes a best seller. He becomes rich and famous and even his relationship with Iris can begin on a new basis. Written by Salvatore Santangelo <pappagone2@libero.it>

Plot Summary | Add Synopsis

Taglines:

You know you're lonely when. See more »

Genres:

Comedy

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 January 1984 (USA)  »

Also Known As:

Anime gemelle  »

Filming Locations:


Box Office

Gross:

$4,800,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Merv Griffin:  As Himself, during the The Merv Griffin Show (1962) sequence. See more »

Goofs

When Larry is running, he pays a toll to run across the 59st bridge. There is no toll on the 59st bridge. See more »

Quotes

Larry Hubbard: [narrating] If you like to play fetch don't get a fast dog. All they want to do is show off and they don't care about your stick. If they don't comeback by sundown you're out three hundred dollars.
See more »

Connections

Features Woody's Clip Joint (1964) See more »

Soundtracks

Don't Call Me Lonely
Performed by Gerard McMahon
Written by Gerard McMahon
Produced by Gerard McMahon
See more »

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User Reviews

 
A Sharp, Overlooked Steve Martin Vehicle
22 October 2010 | by (Cincinnati, OH, United States) – See all my reviews

It's a tough life being lonely in New York City. After Larry loses his exceedingly loose girlfriend, Warren, a sad sack singleton, tries to teach him how to talk to the ferns in his apartment and to enliven a party with cardboard models of celebrities. In two of the funniest scenes in the film, Larry joins the hundreds of other lonely guys who stand on building rooftops and call out for the women they have lost. In the second, Larry finds himself on the Manhattan Bridge where those moles devoid of hope leap off into the river below, but not before making sure you're not using this ledge, or they'll wait their turn. These hilarious bits make a creative comic rumination on being single.

There is apparently a Charlie Kaufmanesque approach to this film's story and background. It's based on a non-fiction book The Lonely Guy's Book of Life by a New York City-based writer named Bruce Jay Friedman, but departs into a purely, obviously fictional tale of a greeting card writer who goes through a period of terrible luck with women. Then, at the pit of his despair, Larry writes a book titled A Guide for the Lonely Guy, which is rampantly successful and catapults him into an entirely different experience of life. Evidently The Lonely Guy is a satire on the social superficialities surrounding the success of its source material rather than an adaptation, which I find quite creative.

Steve Martin, who takes so well to the pathos of the role that he even turns up as Charlie Chaplin's Little Tramp in one scene, seems most comfortable here in his scenes with Charles Grodin as the dryly hilarious sad sack. He does least well in sequences in which Hiller works against the material's essential gloom. Whenever the film tries to be a high-spirited, zesty head rush, it slips slightly. When it succumbs to the indispensable melancholy of Larry and his situation, it begins to fashion a concealed blade of sullen comical sense. Some of the sharpest laugh moments could even be when Martin keeps being rejected by a woman who clearly loves him, because of some twisted logic of hers that avoids any kind of affection because she could get hurt.

Here's a refreshingly broad screwball comedy, rooted in a universal kind of human agony, constructed out of disguised satire and freely seasoned with countless Zucker-style sight gags. And it's carried with typical briskness by Arthur Hiller, a solid and undistinguished director, most of whose success has been with light comedy such as this. As can be seen in the Wilder-Pryor teamings or the original In-Laws, he has a basic flair for it. And you can't go wrong with a theme song by America.


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