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| Ernest Borgnine | Marty Pilletti |
| Betsy Blair | Clara Snyder |
| Esther Minciotti | Mrs. Pilletti |
| Augusta Ciolli | Catherine |
| Joe Mantell | Angie |
| Karen Steele | Virginia |
| Jerry Paris | Thomas |
| Frank Sutton | Ralph |
| Walter Kelley | The Kid |
| Robin Morse | Joe |
| James Bell | Mr. Snyder |
| Charles Cane | Lou, Bartender |
| Joe de Santis | |
| John Milford | |
| Silvio Minciotti | |
| Betsy Palmer | |
| Nehemiah Persoff | |
| Minerva Urecal | Mrs. Rosari |
| Alan Wells | Herb |
| Delbert Mann | Director |
| Paddy Chayefsky | Screenwriter |
| Alan Crosland Jr. | Editor |
| Edward S. Haworth | Production Designer |
| Harold Hecht | Producer |
| Joseph La Shelle | Cinematographer |
| Burt Lancaster | Producer |
| Norma | Costumes/Costume Designer |
| Walter M. Simonds | Production Designer |
| Roy Webb | Score Composer |
Marty is a small movie with great tenderness and romance. I have been looking for it for years now. Its one of the beautiful movies in black and white. The Plot is simple and the characters don't need to be analyzed thoroghly to understand the movie. Its just a story of a butcher seeking love and wanting to love. This was consumated in a lady teacher which he found in the dance in one night club visit Mart had with the boys. Against all odds he now will fight heaven and earth to make that love flourish, till the end of the movie. I recommend thhis movie for romantic ordinary people!!!
1 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted October 1, 2010
In 1955, the cinema world voted its Best Picture Academy Award to a film based on a television play starring Rod Steiger and directed by Delbert Mann. In the past, Oscars had been given to numerous revamped Broadway shows and novels, but "Marty"—-written by Paddy Chayefsky—-was the first born-in-television play to make the grade and take home the prize. "Marty" told the simple and poignant story of two lonely, plain-looking people who find each other. The man is an ordinary, fat Bronx butcher (Ernest Borgnine--replacing Steiger in the film), constantly goaded by his relatives for still being a bachelor at 35. Unsuccessful at dating, he meets Clara (Betsy Blair), a sensitive, unattractive school teacher who has been dumped by a blind date, and tries to cheer her up. "You're not such a dog as you think you are," he says (trying to sound convincing). Finding a compatibility and understanding, they fall in love. Before "Marty," Hollywood had rarely considered the average man in a motion picture, somehow ignoring their existence. Writer Chayefsky changed that and at the same time, richly achieved his original aim: he wanted to pen a simple love story that shattered the popular illusion that romance is simply a matter of physical attraction, that all heroes have Clark Gable profiles and all heroines a Marilyn Monroe sexuality. "Marty" is a liberating experience. Its major force is the triumph of its two main characters over a number of crippling limitations. The film, moreover, has the delightful boldness to cast its love story about two homely losers—-with actors who are genuinely homely—-a departure from Hollywood tradition. Finally it is a small-screen, black-and-white movie in a decade of Cinemascope color extravaganzas. It is characteristic of the contradictory fifties that in the same year when the female characters of another film "The Tender Trap" (1955) want nothing more than to abandon their careers for marriage, Clara, the heroine of "Marty" can have an ambition other than marriage and that she can look critically upon women who have given up everything of their own for the sake of their husbands and children. There are other significant instances of emancipation in the film as well, not the least of which is Marty's rejection of "the boys" for the company of a woman. Marty's insecure pals live in a fantasy world of Playboy centerfolds and Mickey Spillane exploits. "Mickey Spillane," a fellow named Ralph explains with awe, "knows how to handle women." Clearly, "the boys" do not, so out of fear they band together and confront women in groups of two or three. Marty is the only man in the film who spends any time alone with a woman. The fact that Marty must abandon both "the boys" and his mother to pursue Clara signals that the relationship, upon which all the questions of the film rests, is a product of maturity and they can appreciate one another's value and perceive each other's intrinsic beauty, thereby transcending the callow standards of sexual attractiveness which have rendered them both lonely losers for most of their lives. [filmfactsman]
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted October 1, 2010
it´s a very tender film
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted October 1, 2010
MARTY was based on a television play written by Paddy Chayefsky. He also did the screenplay. The story is about two people who manage to meet and fall in love after each has sufferred through years of feeling rejected by the opposite sex. The movie is set mostly in an Italian neighborhood in the Bronx. It is a relatively short film but it packs a powerful message. Ernest Bornine is superb as the clumsy bachelor who appears stuck in a hopeless situation with no prospects of finding a suitable wife. Betsy Blair gives an unforgettable performance as the almost thirtyish school teacher who seems totally defeated by her failure to attract a boy friend. Joe Martell is very credible in the role of Marty's buddy Angie. The movie walked off with several Academy Awards in 1955 receiving Oscars for Best Picture, Best Director (Delbert Mann), Best Actor (Ernest Borgnine) and Best Screenplay. Nominations were received for Best Supporting Actor (Joe Mantell), Best Supporting Actress (Betsy Blair), Black and White Cinematography and Black and White Art Direction. Anna Magnani won the Oscar for Best Actress in that same year for her appearance in THE ROSE TATTOO.
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Posted May 16, 2010
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Posted October 26, 2008
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