Ernest Borgnine's Oscar winning performance as the title character in "Marty" is so captivating that you might forget the real star of this film is writer Paddy Chayefsky. Originally "Marty" was an acclaimed live television anthology drama that aired in May 1953 on the "Philco-Goodyear Playhouse." The 50-minute production starred Rod Steiger and Nancy Marchand. The drama was a poignant tale of the battle against loneliness for butcher Marty Piletti, who knew that whatever a woman wanted in a man, "I ain't got it." When Marty finally met a woman, his friends cruelly called her "a dog." But then Marty realized that he was a dog too and seized his chance for happiness, arranging a date as the drama ended.

The telecast of "Marty" made Chayefsky one of the greatest writers of television's "Golden Age," second only to Rod Serling ("Patterns," "Requiem for a Heavyweight"). Two years later Chayefsky and director Delbert Mann reunited in Hollywood to make a 90-minute film version of the story, which was expanded masterfully by the author as he explored the pain of being unwanted. What made the story a winner was that this is not a depressing story and we never fail to feel not only sympathy but affection for the main character. Marty is about to give up on love when he meets the plain-looking Clair (Betsy Blair), a teacher about to turn 30 who has also faced a life of rejection. What makes their rejection painful is that they are both decent people, who come together because they are able to recognize their own decent qualities in each other.

There are those who complain that the leading players are not "dogs" enough to make the story work. However, Borgnine was never anything close to a traditional leading man. I certainly think his performance is both convincing and compelling. The criticism is more telling with regards to Blair, who has a certain attractiveness that goes a bit beyond being "plain." But what is important in the story is not these are ugly people per se, but that their self-esteem and sense of confidence has been completely eroded away by friends and family. Besides, we would not really expect Hollywood to invest in a film like this with too much authenticity.

Most Romantic Lines: These might not be overly romantic, but they are great Chayeksky dialogue: (1) "All right, so I'll go to the Stardust Ballroom. I'll put on a blue suit, and I'll go. And you know what I'm gonna get for my trouble? Heartache. A big night of heartache"; (2) "And I also want you to know that I'm having a very good time with you right now and really enjoying myself. You see, you're not such a dog as you think you are"; (3) "You got a real nice face, you know. Really a nice face"; (4) "I'd like to see you again - very much. The reason I didn't let you kiss me was because I just didn't know how to handle the situation. You're the kindest man I ever met. The reason I tell you this is because I want to see you again - very much. I know that when you take me home I'm just going to lie on my bed and think about you. I want very much to see you again." Of course the most famous exchange in the film is between Marty and his friend: Angie: "What do you wanna do tonight?" Marty: "I dunno, Angie. What do you wanna do?"

If you enjoyed this film check out these other films on the American Film Institute's 100 Years 100 Passions list: #14 "The African Queen," #17 "Moonstruck," #23 "Now, Voyager," and #81 "The Goodbye Girl." Why? Because they all tell love stories in which love comes relatively late in the game for people who believed it was never coming at all. Obviously, however, you should also check out the original television version of "Marty," preferably before you check out the film version.

THERE IS SOMEONE FOR EVERYONE...
Review date: 2004-02-29 Rating: 10 out of 10

Written by the gifted Paddy Chayefsky, this is a memorable film, deftly directed by Delbert Mann. That it has a stage-like, theatrical feel to it is not surprising, considering that it was first a made-for-television play that was later augmented for the silver screen. This element of theatricality, however, does not detract in the least from this gritty, thematically complex film.

Ernest Borgnine plays the role of Marty Piletti, a stocky, thirty-four year old, lonely Italian butcher living at home in the Bronx with his mother. He is the last of the Piletti brood still in the nest. Physically unattractive and a bit doltish, he is a socially awkward, lumbering lummox of internal pain and angst. His mother wants him to get married, or so she thinks, until the reality of what such might ultimately mean for her sinks in. She takes her cue from her sister, Marty's Aunt Catherine, who is living with her son and daughter-in-law and making their lives hell. Consequently, she is going to move in with Marty and his mother.

Marty spends most of his spare time with his friend Angie, as well as with a bunch of other losers. Unloved, unmarried, and unable to get a date, Marty has all but given up on finding Miss Right, when he meets a twenty-nine year old high school teacher, also from the Bronx, Clara Snyder (Betsy Blair), at the famous Stardust Ballroom. Clara, a well educated, nice plain-Jane, is there as part of a pity double date arranged by her brother-in-law. Unfortunately, her date turns out to be a total cad who unceremoniously tries to fob her off on anyone he can, so that he can get some action going with a hot babe he knows. Marty feels Clara's pain, so he asks her to dance, not knowing that he is meeting his feminine counterpart and soul-mate.

As the film peels the layers from Marty, the viewer meets the sensitive, kind man who lives within the unattractive exterior. The viewer really gets to feel his pain, as well as that of some of the other characters in the film. One senses the feelings of alienation and loneliness in Clara, as she is dumped by her caddish date. One senses the fear that Mrs. Piletti has at the reality of what Marty's getting married might mean for her. Aunt Catherine's ouster from her son's home, as the older, unwanted woman with few options in life, also makes an impact on the viewer. The angst of Aunt Catherine's son at having to cleave to his wife, rather than to his mother, is also palpable, as is that of Angie at the thought of the possibility of no longer having Marty around to share his own social isolation.

The themes in this film, such as loneliness, isolation, alienation, and fear are all themes still relevant today. The only real anachronistic note is struck by the fact that Mrs. Piletti and Aunt Catherine both appear to be in their late sixties or early seventies, but I found to my complete surprise that Aunt Catherine is supposed to be fifty-six, and Mrs. Piletti is her younger sister! Trust me when I say that, nowadays, women in their fifties do not look like that.

All in all, this is an excellent film. Those who enjoyed this film should also seek out another Paddy Chayefsky film, "The Catered Affair", starring Bette Davis and Ernest Borgnine, which is a bitter sweet film about another Bronx family.

"I've been looking for a girl ......"
Review date: 2004-01-03 Rating: 10 out of 10

...every Saturday night of my life".
Marty Piletti is a lonely, akward 34 year old italian butcher living in New York. He is desperate to find someone to love and his mother is desperate for him not to be left on the shelf!
Just when he thinks that he will never find that special someone, there she is! By default he finds Clara, a school teacher, who is just as awkward and lonely as Marty.
Can these two people find true love or will outsider interference get in their way and spoil everything.
Watch this film if you like heartfelt drama, light touches of comedy and a wonderful cast, especially Ernest Borgnine who brings Marty to life and makes you really care about him.
Wonderful!

Love Is Sometimes Elusive.
Review date: 2003-02-04 Rating: 10 out of 10

MARTY was based on a television play written by Paddy Chayefsky. He also did the screenplay.

The story is about two people who manage to meet and fall in love after each has sufferred through years of feeling rejected by the opposite sex. The movie is set mostly in an Italian neighborhood in the Bronx. It is a relatively short film but it packs a powerful message.

Ernest Borgnine is superb as the clumsy bachelor who appears stuck in a hopeless situation with no prospects of finding a suitable wife. Betsy Blair gives an unforgettable performance as the almost thirtyish school teacher who seems totally defeated by her failures to attract a boy friend. Joe Martell is very credible in the role of Marty's buddy Angie.

The movie walked off with several Academy Awards in 1955 receiving Oscars for Best Picture, Best Director (Delbert Mann), Best Actor (Ernest Borgnine) and Best Screenplay. Nominations were received for Best Supporting Actor (Joe Mantell), Best Supporting Actress (Betsy Blair), Black and White Cinematography and Black and White Art Direction. Anna Magnani won the Oscar for Best Actress in that same year for her appearance in THE ROSE TATTOO.

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