Marty with Ernest Borgnine: DVD Cover

    Marty Director: Delbert Mann Cast: Ernest Borgnine, Betsy Blair, Esther Minciotti, Augusta Ciolli

    DVD - Pan & Scan / Black & White / Dolby 5.1 / Mono Learn more

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    • DVD Release Date: 06/19/2001
    • Original Release: 1955
    • Rating: Not Rated
    • Sales Rank: 8,507

    Viewer Rating: (4 ratings)

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    • Overview
    • Editorial Reviews
    • Scenes
    • Customer Reviews
    • Cast & Crew
    • Full Product Details

    Scenes

    Features

    Original theatrical trailer; English: mono; French: mono; Spanish: mono; French & Spanish subtitles

    Full Product Details

    Scene Index

    Side #1 --
    0. Scene Selection
    1. Main Title/The Shame [3:23]
    2. "Whaddya Feel Like Doin?" [4:12]
    3. Mother-In-Law Trouble [9:15]
    4. Loaded With Tomatoes [2:37]
    5. The Stardust Swap [8:08]
    6. "Dogs Like Us" [4:00]
    7. The Curse Of The Old Age [5:42]
    8. The Chat Machine [11:58]
    9. Needed And Committed [4:36]
    10. Just A Lousy Kiss [1:14]
    11. Mom's Trick Question [4:56]
    12. Guilt & Disapproval [7:05]
    13. "I Don't Like Her" [9:30]
    14. The Spillane Approach [4:11]
    15. An Ugly Man's Destiny [5:32]
    16. End Credits [2:16]

    Scene Index

    Editorial Reviews

    Paddy Chayefsky's Oscar-winning slice-of-life drama is a heartwarming story about Marty Pilletti (Ernest Borgnine), a lonely Bronx butcher. Marty is a burly but gentle man, easing into middle age without much hope for romance or a career. He lives at home with his mother (Esther Minciotti), a kind but life-smothering woman, and a small circle of dead-end friends. Marty has no self-confidence and feels he's dumpy and unattractive. While it takes some doing, Marty's mother finally convinces him to go to the Stardust Ballroom in Manhattan, where he meets a plain-looking schoolteacher named Clara (Betsy Blair), whose life appears to mirror his own. He asks Clara to dance and soon they are smitten with one another. But to Marty's surprise and frustration, his friends put her down and his mother is hostile to her. Swayed by his friends and his mother, he doesn't call Clara back. But sitting at the bar with his friends the next night, Marty decides he has had enough, and defying his enclosed little world, he rushes to a phone booth to call Clara. As Marty shouts to his friends, "You don't like her. My mother don't like her. She's a dog. And I'm a fat, ugly man. Well, all I know is I had a good time last night ... You don't like her? That's too bad!" Paul Brenner, All Movie Guide

    Customer Reviews

    "Marty" was revolutionary realism.by Anonymous

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    September 03, 2005: In 1955, the cinema world voted its Best Picture Academy Award to a film based on a television play starring Rod Steiger and directed by Delbert Mann. In the past, Oscars had been given to numerous revamped Broadway shows and novels, but "Marty"—-written by Paddy Chayefsky—-was the first born-in-television play to make the grade and take home the prize. "Marty" told the simple and poignant story of two lonely, plain-looking people who find each other. The man is an ordinary, fat Bronx butcher (Ernest Borgnine--replacing Steiger in the film), constantly goaded by his relatives for still being a bachelor at 35. Unsuccessful at dating, he meets Clara (Betsy Blair), a sensitive, unattractive school teacher who has been dumped by a blind date, and tries to cheer her up. "You're not such a dog as you think you are," he says (trying to sound convincing). Finding a compatibility and understanding, they fall in love. Before "Marty," Hollywood had rarely considered the average man in a motion picture, somehow ignoring their existence. Writer Chayefsky changed that and at the same time, richly achieved his original aim: he wanted to pen a simple love story that shattered the popular illusion that romance is simply a matter of physical attraction, that all heroes have Clark Gable profiles and all heroines a Marilyn Monroe sexuality. "Marty" is a liberating experience. Its major force is the triumph of its two main characters over a number of crippling limitations. The film, moreover, has the delightful boldness to cast its love story about two homely losers—-with actors who are genuinely homely—-a departure from Hollywood tradition. Finally it is a small-screen, black-and-white movie in a decade of Cinemascope color extravaganzas. It is characteristic of the contradictory fifties that in the same year when the female characters of another film "The Tender Trap" (1955) want nothing more than to abandon their careers for marriage, Clara, the heroine of "Marty" can have an ambition other than marriage and that she can look critically upon women who have given up everything of their own for the sake of their husbands and children. There are other significant instances of emancipation in the film as well, not the least of which is Marty's rejection of "the boys" for the company of a woman. Marty's insecure pals live in a fantasy world of Playboy centerfolds and Mickey Spillane exploits. "Mickey Spillane," a fellow named Ralph explains with awe, "knows how to handle women." Clearly, "the boys" do not, so out of fear they band together and confront women in groups of two or three. Marty is the only man in the film who spends any time alone with a woman. The fact that Marty must abandon both "the boys" and his mother to pursue Clara signals that the relationship, upon which all the questions of the film rests, is a product of maturity and they can appreciate one another's value and perceive each other's intrinsic beauty, thereby transcending the callow standards of sexual attractiveness which have rendered them both lonely losers for most of their lives. [filmfactsman]

    wonderfulby Anonymous

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    June 01, 2003: it´s a very tender film


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