From Marty (Delbert Mann, 1955)
Ernest Borgnine is terrific here. It’s in the way he wrings his hands after he freaks out, as if freaking out completely opposes who he is. It’s a moment of weakness, insecurity boiling to the surface and making a pitiful mess.
I watched most of “Marty” wanting to hug it and not let go. It ends limply, but the scenes of Borgnine and Betsy Blair walking around defending each other in conversation offer up endlessly rich romantic dialogue, setting the bar for “Before Sunrise” and films about people living on the social margins.
