Marty

( 6 )

Overview

Paddy Chayefsky's Oscar-winning slice-of-life drama originated as a live 1953 broadcast directed by Delbert Mann on The Philco-Goodyear Television Playhouse starring Rod Steiger and Nancy Marchand. The Hecht-Lancaster movie version, also directed by Mann, replaces the two leads with Ernest Borgnine and Betsy Blair (as well as featuring several soon-to-be-familiar faces, including Jerry Paris, Frank Sutton, and Karen Steele, plus Joe Mantell, Nehemiah Persoff, and Betsy Palmer from the TV version). But it remains ...
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Overview

Paddy Chayefsky's Oscar-winning slice-of-life drama originated as a live 1953 broadcast directed by Delbert Mann on The Philco-Goodyear Television Playhouse starring Rod Steiger and Nancy Marchand. The Hecht-Lancaster movie version, also directed by Mann, replaces the two leads with Ernest Borgnine and Betsy Blair (as well as featuring several soon-to-be-familiar faces, including Jerry Paris, Frank Sutton, and Karen Steele, plus Joe Mantell, Nehemiah Persoff, and Betsy Palmer from the TV version). But it remains otherwise intact, telling of 24 very important hours in the lives of two lonely people. Marty is a bittersweet, sometimes funny, sometimes poignant, and always realistic comedy-drama about Marty Pilletti (Ernest Borgnine), a 34-year-old Bronx butcher. Approaching middle-age as a burly, somewhat overweight man who has no illusions about himself or his attractiveness to women, Marty looks forward to just one thing in life -- buying his boss's butcher shop and trying to make a success in business -- and he's even uncertain about that. A gentle, good-natured man, he lives with his mother (Esther Minciotti), a kind but emotionally smothering woman, in a too-large house and spends his time with a small circle of dead-end friends (Joe Mantell, Frank Sutton). One Friday night, Marty's mother convinces him to go to the Stardust Ballroom, where he meets a plain-looking schoolteacher named Clara (Betsy Blair), whose life appears to mirror his own -- she lives with her father, and is frightened about the one prospect she has for advancement in her job. Meeting her after witnessing a humiliating rejection by her blind date, Marty acts on his best impulses and asks Clara to dance, and soon they are actually enjoying each other's company. She is as drawn to him as he is to her, but both are so uncertain about putting themselves at risk emotionally, that the evening almost ends badly when he tries to kiss her -- but they agree to talk on the phone and go to a movie the next night. But whatever good feelings he has about Clara are soon threatened by his friends' put-downs of her, and his mother's hostility, driven by her sudden panic that if Marty marries, she'll be left living alone. Marty spends the next day alone and never does call Clara, seemingly having decided that it's best to leave well enough alone. That is, until he takes a good long look at his life, and a listen to his friends -- and he suddenly makes the decision to try for true happiness, wherever it leads.
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Editorial Reviews

All Movie Guide - Richard Gilliam
Marty derives its greatness from Paddy Chayefsky's superb screenplay, which examines the reasons why people needlessly consign themselves to lives of sterile loneliness. The film makes the audience feel the ennui that surrounds Marty (Ernest Borgnine), from his mother's smothering love to the banality of his friends and his job. In one of the screen's great moments of heroism, Marty breaks free of his self-chosen prison and accepts the emotional risk of seeking happiness. There are few closing words more frightening and more hopeful than in the climactic moment when Marty picks up the phone, dials the number of the woman he has met, and says, "Hello, Clara." An oddity among Best Picture Oscar winners in that it was based on a TV drama, Marty transcends its era and speaks to the most basic needs for love and companionship.
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Product Details

  • Release Date: 7/29/2014
  • UPC: 738329132927
  • Original Release: 1955
  • Source: Lorber Films (Kino)
  • Region Code: 1
  • Presentation: Wide Screen / B&W
  • Language: English
  • Time: 1:30:00
  • Format: DVD
  • Sales rank: 15,487

Cast & Crew

Performance Credits
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
Joe de Santis
Betsy Palmer
Nehemiah Persoff
Alan Wells Herb
James Bell Mr. Snyder
Charles Cane Lou, Bartender
Silvio Minciotti
Minerva Urecal Mrs. Rosari
John Milford
Technical Credits
Delbert Mann Director
Paddy Chayefsky Associate Producer, Original Story, 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
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Scene Index

Disc #1 -- Marty
1. Chapter I
2. Chapter II
3. Chapter III
4. Chapter IV
5. Chapter V
6. Chapter VI
7. Chapter VII
8. Chapter VIII
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Menu

Disc #1 -- Marty
   Play
   Chapters
   Trailer
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Customer Reviews

Average Rating 4.5
( 6 )
Rating Distribution

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(4)

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(2)

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Sort by: Showing all of 6 Customer Reviews
  • Posted March 5, 2012

    more from this reviewer

    A SMALL ROMANTIC FILM

    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.

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  • Anonymous

    Posted October 1, 2010

    "Marty" was revolutionary realism.

    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]

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  • Anonymous

    Posted October 1, 2010

    wonderful

    it´s a very tender film

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  • Anonymous

    Posted October 1, 2010

    Love Is Sometimes Elusive.

    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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  • Anonymous

    Posted May 16, 2010

    No text was provided for this review.

  • Anonymous

    Posted October 26, 2008

    No text was provided for this review.

Sort by: Showing all of 6 Customer Reviews