Esposas Abandonadas

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.

"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.

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 ****

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!

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.