A Mulher Só

The depth of the creative bankruptcy in this film is most evidence in the final scene. The writers gave Pia Zadora's character a reasonably interesting name, Jerilee. (That's as close as I'll come to complimenting this picture). Then, when the nominees at the Oscars are being read, another screenwriter is named Jerilee, too. Bafflingly stupid.

This is one of the few movies so bad that it would even be passed over by nude-scene-hunting horny teenagers. Everything about is bad. There is not a single redeeming quality, not one scene that works, not a single character that isn't a benign, idiotic one-dimensional drip.

I can't call this the worst film ever made but it's close. However, the single worst scene in a movie I have ever seen is Pia Zadora's nervous breakdown.

Quite simply a waste of vital resources. 1/2* out of ****.

Don't ask me why but I saw this turkey ON OPENING DAY at the Picwood Theater (r.i.p.) in West L.A. when it came out. The auditorium was packed, full of bad-movie patrons, all expecting the worst. And the worst they got! Barely five minutes went by before bales of hysterical laughter were forced out of each and every audience member. Even my feminist girlfriend at the time, (who came, expecting to see a serious film about a struggling female screenwriter) had to bust up a few times. I don't know what the producer/director were thinking. It's hard to determine whether or not this meant to be awful. Regardless, this gets my highest recommendation -- invite about ten friends over with a pony keg -- you won't be disappointed!!!!

When I initially saw this movie in the '80s I thought it was so bad, I couldn't watch it all the way through. Subsequent viewings of it on TV were the same. I never really saw the whole movie in it's entirety. I seemed to always come in at the same parts, either the garden hose scene or the psychedelic/Andy Warholish nervous breakdown scene. It was never shown on commercial television here in Toronto, it always seemed to be played on the premium movie channels (First Choice/Superchannel,later to be TMN/Moviepix) I guess they received this movie for really cheap from the distributor. Watching it recently in it's entirety was a real eye-opener! I don't know if it's the nostalgia factor, or just the fact that I am older and going senile, but I thought that this movie was "so bad, that it was so good" The bad acting, and the awful characters that are very unlikable would make most people turn off this movie. For me I went out and bought the video! I don't blame Pia Zadora's character for going off the deep-end at her typewriter. It just seemed most of the characters were really vile-I take it that this was to show how ruthless Hollywood can be...what a joke! If you want to see a comedy about how a movie should not be made, check out "The Lonely Lady"-it's a great waste of time!!

This early Pia Zadora vehicle followed a familiar Harold Robbins formula: ambitious main character wallows in decadence while pursuing the path to the top of some randomly chosen but glamorous world, in this case the movie industry. But despite being so formulaic as to be completely predictable, this movie manages at the same time to be completely unbelievable. Zadora (to call her inexperienced as an actress is to be charitable) never convinces as a screenwriter. One would expect a movie about movie-making to have some insights into its own industry and creative process. But the script gives her none of the qualities which make writers interesting movie characters: observance, skill with words, a love-hate relationship with one's own creative abilities. Her character is as empty as a donut hole. And this is just a taste of the incompetence on display here. The cinematography is so murky that it is sometimes hard to see what is happening. And the scenes never really hang together, so everything seems like a succession of random moments at bad Hollywood parties. Avoid.

I haven't been able to decide if this movie is so bad it's good, or, to quote Enid Coleslaw, "so bad it's gone past good and back to bad again." No matter, it forced me look much the same way a pile of weird coloured vomit might, and it offers up a number of scenes that you won't forget even if you want to. There's a sneering young Ray Liotta telling a pigtailed Pia that her creative writing trophy looks like a penis. A bit later, there's Ray again, molesting Pia, not with the appropriately shaped trophy but a garden hose. There's a firm chinned Pia telling her domineering Mom that she wants to go to bed with Ray's geezer father, Walter. There's the actress in the graveyard scene yowling the best line ever written by Pia or anyone else: "WWWWHHHYYYYYYY!" There's that garden hose again, as Walter waves it Pia's face and roars "Is this more to your liking!?" There's Pia and her date so turned on by closeups of each other masticating salad that they start tearing each other's clothes off. There's Pia showering but forgetting to remove her dress. Perhaps best of all, there's Pia's typewriter, but instead of keys there are the miniature talking heads of those who have tormented her the most (afterwards, I was afraid to open my laptop). And finally there's Pia at "The Awards" exposing Hollywood for the cesspool it is, spitting out the second best line ever, "I guess I'm not the only one who has ever had to **** her way to the top." I see I have already spent more time commenting on "The Lonely Lady" than I have on far better pictures, so I'll quit. Be forewarned, though, that once you start watching you probably won't be able to take your eyes off the screen until two hours of your life have vanished forever.