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Although several threads coexist with the principal storyline during the course of this low-budgeted eccentric character study of a single Brooklyn man, George Trapani (John Lefkowitz), who works as a printer at his family's business, and who has never moved away from his parents' home to be on his own, the work nevertheless impresses as being from the Slice Of Life cinema genre, wherein nearly any of the episodic scenes may be eliminated without having even scant effect upon such normally significant plot elements as exposition, conflict and climax, each barely present in this film. George correctly believes that he is mired within a well-trodden relationship with scatterbrain Flo (Maureen Byrnes), a waitress, and is highly frustrated with the quotidian nature of his existence. The choppily rhythmed picture portrays his clumsy attempts to alter a lifestyle that he increasingly dislikes as his thirtieth birthday approaches; however, it becomes increasingly obvious that a drastically naive George may indeed lack any sort of ability required for adaptation to a higher than jejune mode of living. Filmed largely in New York City, this piece revolves the daily activities of commonplace metropolitan area citizenry, and benefits from a good deal of cogently naturalistic dialogue in addition to some inventive camera-work contributed by Burleigh Wartes. It is the only credited film for Lefkowitz, portraying a man who rebels against his drab lot, while a majority of the other principal players show but few roles in their portfolios. Frank Quinn wins the acting honours as a sleazy film producer. The film has been re-released upon a Hollywood Entertainment DVD, retitled HURRY UP, OR I'LL BE THIRTY, that is rather shabby in the technical sense, and its cover is primarily taken up by the close-up visage and name of Danny DeVito, plainly a marketing strategy since his part is of only middling importance for the scenario.

I've read some reviews calling it disorganized or expressing some variation of the claim that it's only worth watching for Danny DeVito's performance. Maybe I haven't seen enough 70s dramas, but I found the movie fresh, entertaining, and well-made.

It's about a one Italian-American George, who's about to turn 30 and comes from a rather strict Italian-American household.

This guy is as lame as his monk haircut implies. He's homely, he's short, he's shy, he's afraid of other men, and everybody cows him into doing stuff. He's never done anything he could be proud of in his life because of his meek personality. While there's some woman he sleeps with, it's not clear if she's just a prostitute he's a regular customer of or what.

By some stroke of luck some cool man about town takes an interest in him at a bar and decides to talk at him while Georgie fidgets around nervously. Georgie boy decides to go out on a limb and take him up on some invitation to go to an audition for a play he's producing, where he meets a beautiful waitress who decides to give him a chance.

It's a little bit chaotic and it has a lot of dead ends, but it never abandons its identity as a poignant character study about this generic loser who's not going to amount to anything in life. In fact, he's such a loser that even when good things fall into his lap he can't pull the trigger. It's like watching the proverbial lemming leap to its death off of a cliff.

Danny DeVito is briefly in this movie, but who cares. He doesn't do much other than make salacious facial expressions at the camera. If you really want to see 70s DeVito, go watch Taxi (1978). That show is great.

Good, well-acted character study with a superb ending and a fascinating scenes of urban life in the 70s in USA.

Honourable Mentions: Marty (1955). Probably the best movie on the topic of frustrated sexually unlucky young man who becomes painfully aware of his stuation and prospects on the brink of middle age.