Opiniones de usuarios

However, I preferred this film. While it is a bit disjointed, and certainly the subject matter these days in not novel, it addresses the individual issues of divorce and abandonment.

Some critics have dismissed this as a "woman's movie"...wow. Women today are a larger sector of the audience. Not sure what archaic demographic that critique is utilizing.

At any rate, Trish Van Devere gives an understated performance as a newly single San Francisco woman, attempting to restructure her life. Jane Leigh is amusing in a nice cameo as a vindictive divorcée, she looks amazing for age 45, and gives a fun performance.

Melvyn Douglas also has a cameo as resident grocer, Mr. Provo. He takes Van Devere to an outdoor play, and she breaks down as she finally realizes her four year marriage is over for good.

Never an easy issue, divorce is painful and personal, if you watch this, and then ten years later, watch it again, you may feel differently. Recommended. 7/10.

Until it degenerates somewhat into drippy man-woman chit-chat, "One Is a Lonely Number" has some wry comments to make on the life of a 27-year-old woman on the verge of being divorced. Trish Van Devere has a soft, fuzzy quality about her which is quiet and likable; when her husband of four years walks out on her without an explanation, she's forced to get a job and face the realization of being alone or dating again (neither of which seems to please her). Rather predictable narrative is spiked by a solid visual sense and good location shooting in and around San Francisco. The film comes from an unusual pedigree (executive producer David Wolper and director Mel Stuart worked together the previous year on "Willy Wonka & the Chocolate Factory" and screenwriter David Seltzer later wrote "The Omen"), and some of the sequences (such as the hurt spouse packing up her husband's leftover things) were expanded upon in later films such as "An Unmarried Woman" and "Kramer vs. Kramer". Alas, Seltzer's script, adapted from Rebecca Morris' short story "The Good Humor Man", falls too easily into convention, and when a ready-made prince (Monte Markham??) confesses to Van Devere he's married, one is inclined to groan. The material was probably much fresher in 1972, however this scenario has since become well-mined territory for a torrent of "women's pictures". What makes this one interesting are the performances (especially Janet Leigh's as a brassy man-hater) and the stinging sense of helplessness. We follow the work-a-day trials of this single woman as she is forced into a rather crummy job as a swimming pool lifeguard--secretly afraid of the high dive--and has to do things she doesn't want to do. It certainly has impact, but the movie's bracing quality is diluted by the soap opera. A near-miss. ** from ****

"One is a Lonely Number" ("Two is a Happy Number") is a film about a woman's experience coming to terms with the end of her marriage. In many ways, it's like Dr. Kubler-Ross' Stages of Grief and you see the lady (Trish Van Devere) work through the stages until she finally arrives at accepting that it is, indeed, over. While this would NOT make for a fun or good date night film, it is mildly entertaining and a bit brave in addressing this sad topic. Sadly, up until the end it was a very good film (I might have scored it a 7 or 8) but the ending seemed a bit dumb and poorly handled. You could do better...you could do a lot worse. This sort of film has the term 'time-passer' written all over it and is a nice chance to see Van Devere acting without her husband and usual on-screen partner, George C. Scott.

This is a little-known, but rewarding seriocomic film about the tribulations of a young woman in the throes of a divorce. Van Devere plays a 27 year-old wife who watches (in a hilariously pretentious opening sequence) as her husband packs his things and walks out on her. Completely unprepared for this, she must jump the hurdles of a society who, at that time, didn't make things easy for a single woman. She "gets a job, gets a lawyer and gets laid" as the leader of a woman's league advises her. None of these things come easy or without pitfalls, however. She must tolerate a slimy employment recruiter and take on the unlikely task of being a lifeguard. She can't decide whether to have her lawyer castrate her husband or let him off easy. She finds the dating game to be more than a little daunting. She must get her feet wet and take the plunge in a new world (symbolized not too subtly by her occupation and an imposing diving board.) The film is a bit soapy, trite and pat at times, but thanks to the eventually endearing work of Van Devere (who's in virtually every scene), expert pacing and some excellent supporting players, it comes off as very enjoyable and pleasant. Douglas, who in this period was building an impressive resume of excellent supporting performances, shines as an elderly produce shop owner who is fond of the young lady. Leigh, in her last really glamorous big screen appearance before turning gaunt, gets off several snappy lines as the women's league leader. Elliot, legendary for her work on "General Hospital", is a very bright, attractive presence as Van Devere's best friend. Markham has one of his best big screen roles as a man trying to break through Van Devere's defenses. The film is a fascinating time capsule of early '70's fashions/hair and viewpoints on women and their roles at the time. As a lifeguard, the leading lady has to do a whole myriad of things that no one would do today (actually, no one her age could probably even BE a lifeguard today!) including rubbing lotion on a beached whale of a woman and putting a swimsuit on a naked child! The film raises questions as to how much women gained or lost in the sexual revolution, but also shows how much things have changed. To it's credit, the film avoids a lot of things (heart-tugging deaths, extraneous problems of the friends, loud confrontations, etc...) that would be inserted into a film today, giving it a much more realistic atmosphere. The musical score is effective, but the choice of song for the seduction scene is excruciatingly awful. Viewers will want to keep a mute button handy for that!

In San Francisco, 27 year old Amy Brower (Trish Van Devere) is puzzled when her husband walks out on her. He wants a divorce after four years of marriage. Apparently, he went to Mexico with a 19 year old girl and he's cutting her off financially. She's still trying to save her marriage while adjusting to her new life.

It's definitely another time. It may be a different time but there are echoes to today. It's post 60's. It's women's lib. It's single gal adventures and tribulations. It's divorce American style. This reminds me of a couple of famous divorce/single woman/feminist movies later in the decade. This story meanders around and threatens to derail a couple of times. Amy frustrates me a little by trying to keep her marriage for too long. At a certain point, she needs to face reality. She should change her outlook after the big cry and Howard. By the time of the climatic meeting, it's a little anti-climatic. The final ending leaves me with mixed feelings.

In many ways this was one of the cutting edge movies of the early 70's about women who were trapped in loveless marriages or women who found themselves in economic and emotional peril due to divorce. Trish Van Devere plays a recently dumped housewife who doesn't want to divorce her husband, she wants to find her husband and find out why he has dumped her. She is 27, charming and engaging but is forced to be a lifesaver. Yes...a life saver. With the intercession of her friends, our winsome star learns to grapple with her fear of failure and dates Cliff Robertson knock off Monte Markham. The real star is Melvyn Douglas who Trish Van Devere almost seems starstruck to be performing with. Douglas brings pathos to a rather uninspiring Van Devere. This movie is less successful than An Unmarried Woman, but it doesn't have the hand of Paul Mazursky to steer it, nor the talent of Jill Clayburgh and Alan Bates. It is also less successful than Diary of a Mad Housewife by Frank and Eleanor Perry from the year before this. What makes these two movies work is that they are told from the point of view of the actress and the pain of the women works. Sadly, Trish Van Devere seems older than 27 and she is sometimes timid and assertive without much depth to either reaction. Her reactions never seem compelling or reasonable. She bursts into tears during Othello and is still shriek sobbing hours after the audience has left, leaving the audience to assume she was sobbing from the third act of the play to the end. She then goes from sobbing to laughter....and then plays coquette with Monte Markham. It's not a bad movie but it is more like a series of vignettes taped together.

Somebody's always saying goodbye, as an Anne Murray song goes. Here, Trish van Devere's husband has left her. After arguments and differences, the last straw was when she threw his copy of Milton out the window of their New York apartment. Being alone was the last thing she expected to be after her four years with James, but now she's alone. Of course, she's got girlfriends (like Jane Elliott) who want to hook her up, but she's so depressed and in shock. Oh, and yeah, she needs a job now. The employment place maybe has something, if she's nice to him. But he's a creep. There's the old man who runs the grocery store, whose wife died a few years ago. He's nice to talk to, played by Melvyn Douglas. She takes a job as a lifeguard, of all things! Between all her highs and lows and meeting a possible suitor in Monte Markham, she tries to find her independent soul. While the film does reflect the loneliness and despondency of her situation, it does not wallow in it and therefore manages to entertain the viewer while relating to her pain. The supporting cast is very good, but the film belong to Ms. Van Devere. Watch "One is a Lonely Number" and learn that you need not feel weak and dependent on another, and that as one you can be strong.

Trish Van Devere made some "women's"movies back in the '70s. This one, One is a Lonely Number, from 1972, also stars Melvyn Douglas and Janet Leigh, directed by Mel Stuart.

Jane Elliot, Tracy Quartermaine on General Hospital, plays a friend of the main character. Though she remains a striking and glamorous woman today as well as a formidable actress, 53 years ago she was a beautiful young leading woman. It was so great to see her.

Van Devere plays Amy Brower, who can't accept that her husband (Paul Jenkins) has moved out and wants a divorce. She still loves him and wants him back. She is acutely aware of her loneliness, and shares this with a vegetable seller, Joseph (Douglas) whose wife has passed away.

Madge (Elliot) tries to get her to face some reality and introduces her to Gert (Janet Leigh), a tough lady who runs a group for divorcees. She introduces Any to an attorney; meanwhile, at a fundraiser, Madge sends some single men her way. One of the men is Howard (Monte Markham), who is persistent.

This is somewhat soapy, as Amy deals with the divorce attorney, the dating scene, and a job as a lifeguard, set up for her by a sleaze (Jonathan Goldsmith) who wants favors from her. She finally learns her husband was cheating on her and is finally ready to let go.

Good San Francisco location shooting and well produced (David Wolper) and directed. Seen now, it seems more like a TV movie. I've always been a fan of Van Devere; she's very likable.

This is the story of Aimee Brower, a 28 year old woman who just recently divorced her husband. The movie takes us on what Aimee goes through trying to make some sense out of her newly found life, realizing that after all you can live by yourself.

What I find interesting about the movie is that we get to see the female point-of-view of divorce on the early 70s, when women weren't expected to have a career of their own or something else besides being married.

Some movies present such basic, utterly simple storylines, that the only thing that can actually save them from turning into mediocre flicks is how they are executed. And that's the case of Rebecca Morris' 'One Is A Lonely Number'. It's the simple tale of a recently divorced woman, Aimee, who slowly discovers how to get along with her life, growing through pain, loss, heartache and the dealing of loneliness. If you think it's familiar, you're right. The same subject has been brought up oh so many times throughout the last three decades - mostly on campy tearjerkers - but they can't be compared with this one.

Trish Van Devere ~ Day Of The Dolphin, etc... ~ surrenders completely to her role, and gives the performance of a life time. Melvyn Douglas... well, what can I say about him?

Plus, bits from a very sarcastic, cynical Janet Leigh, fresh from such flops as 'Hello Down There'.

It's all delivered to you from a gentle, bittersweet point of view. The pacing is perfect, for it gives the film a reality touch. The music... well, four words for you... Michel Legrand... Bossa Nova.

And some scenes deserve special attention... Trish's reaction to King Lear, and sobbing on Douglas' shoulders. Trish's seduction of Monte Markham and finally... the last scene...

Have a box of Kleenex handy. Do yourself that favor... :)

This movie came under the radar for me - I had never heard of it. Turner Classic Movies gave me the chance, as usual, to experience a film I would probably have never watched, otherwise.

"One" is a wonderful period piece, with great acting, and a simple but engaging plot.

Granted, Janet Leigh's crude supporting character is a bit grating - the humor is jarring - but everyone else is cast perfectly.

The San Francisco locale is used effectively, but sparingly.

Interestingly, director Stuart also directed "Willy Wonka" the year before; he certainly knew how to work with actors.