Marty - Vita di un timido

Okay, so I'm in the Business. I don't believe this movie could get made today except as an art house film. Its beauty lies in its simplicity. Starting with a terrific script by Chayefskey (arguably one of the five best playrights of the 20th century), this movie eschews every that's big about motion pictures for a story about Everman who didn't have a date on Saturday night. Rod Steiger first performed the role on television. It won a number of Emmys. "Opened up" for the silver screen, it retains the intimacy of its characters. Ernest Borgnine has probably been in 100 movies, but this was his shining moment. He breathes live into the hapless Bronx Butcher whose soul longs for love. When he gives his "I'm gonna get down on my knees..." speech, the tears begin to flow. Why? Because in our heart of hearts, each of us feels the need for love and self validation. Marty doesn't need special effects or action sequences. Marty is in a class by itself. Had it never been made we would have all missed an opportunity to look inside ourselves. Maybe in this day and age, with all our CGI and Virtual Reality, we need another Marty, to remind us who we really are.

10/10

I have known, loved and seen this film many times in the past fifteen years and finally bought it recently on DVD in the UK. The story is timeless and I am very surprised that no-one has yet attempted a plausible re-make of it. Stangely made in black and white ( for economic reasons I suppose, as color was widespread enough in 1954 ), the film depicts the horrors of trying to find a soul-mate with family pressures on hand to boot. No doubt italo-Americans will appreciate even more. I found Betsy Blair extremely attractive although she is supposed to be portraying someone "ugly" - the subject is fascinating and endlessly complex as beauty is in the eye of the beholder. The general impression given was one of a depiction of a real-life situation, which is of course to the credit of the film !! I remained hungry at the end and would have liked the film to continue just a little more to show the genesis of their amorous relationship !! But some would argue that at the end of a film you should be left wanting for more .......... I also loved the theme music which is actually sung at the end over the credits where they show the name of the actor plus a view of the actor from the film - this is a technique used all too little nowadays - and this absence is most regrettable as it enabled you to put a face to a name !! I was both surprised and amused that in the 1950's, ugly people were referred to as "dogs" - sounds so funny now - but I think the word "squares" or "cornballs" was also used disparagingly !! Definitely a most original film and which (exceptionally) seems to have attracted a unanimity of positive reviews on IMDb !!

Marty, starring Ernest Borgnine and Betsy Blair, is a touching story from the 1950's about two people who fall in love and want to be together. However, they come up against the gossip, social pressure, and expectations of family and friends that hold them back from their natural instinct to marry and love one another. Both are "older" by the standards of the time but that does not stop them from wanting someone special. They are both excited about the prospect of spending their lives together and then, there is a pause as the elation runs up against reality. Borgnine and Blair are excellent in the role of a young couple who desire to break away from the bonds of friends and family to form their own home life. How will it turn out? This movie is a departure from the glossy Hollywood movies of the 1950's that used colour and celebrity talent and lacked the realism and honesty of this classic. Marty was a more mature movie, with a more effective treatment of social divisions and complicated relationships. Paddy Chayefsky wrote the script and Burt Lancaster was the producer. Both were creative forces in the film world of the 1950's. Delbert Mann directed; he also directed other fine movies such as Separate Tables and Middle of the Night. This is a precious film with a place in the history of American cinema.

On the surface, 'Marty' appears to be a simple love story about a butcher and a school-teacher, but there are many more layers to this film, which manages to be simultaneously funny & deeply moving without ever getting corny.

There's so much about this film that stands the test of time half a century later. It's no wonder it won so many awards that year (including 4 Oscars.) In her autobiography, Betsy Blair mentions that 'Marty' was the high point of her career; it made her a movie star overnight and she was never again in anything as important (though I thought her performance in 'A Delicate Balance' with Katherine Hepburn years later was even better.) She won the BAFTA for her role here, as did Ernest Borgnine, who deservedly swept every award that year for his role as Marty, including the Oscar and the Golden Globe. Borgnine is flawless in his performance & lovable from the very first scene. Esther Monciotti as his mother also delivers a standout performance. Some of the funniest and most memorable lines in the film belong to her and her on-screen sister. The rest of the supporting cast are also great to watch. The frank dialogue and the humanity of the characters make this a film you want to watch more than once.

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.