NR | 1h 40m | Drama | 1958
In “Lonelyhearts” (1958), he’s paired with Montgomery Clift, another heavy-hitter, though of a completely different stripe.
Hungry for a Better Life
White stakes out a bar where he hopes to run into people who work for the Chronicle, a major newspaper that’s headquartered nearby. He strikes gold when he meets Florence (Myrna Loy), who happens to be the wife of William Shrike (Ryan), the paper’s editor-in-chief.
Shrike soon shows up at the bar and interprets his wife’s actions as flirtatious with White. Despite a rather conflicted first meeting, Shrike offers White a job.
When White shows up the next morning, he discovers to his dismay that he’s been assigned to the titular, “Miss Lonelyhearts,” an advice column, instead of something he considers to be real writing. Desperate since he intends to marry girlfriend Justy Sargeant (Dolores Hart), he takes the position.
Hidden Secrets, Long Monologues
Unfortunately, the movie retains much of the stage play’s talkiness, for better or worse. Nowhere is that more evident than in Ryan’s role. Every time he shows up, you can practically set your watch for a lengthy monologue—philosophical, cynical, and often laced with contempt for humanity. He also doesn’t spare his long-suffering wife, whom he hasn’t quite forgiven for an old affair, despite her regrets.Ryan’s performance, however, keeps things engaging. In lesser hands, the part might’ve sunk the film under the weight of its own verbosity. Instead, Ryan brings a sharp intensity to Shrike, making his scenes work. I found myself sighing “here we go again” with a half-smile, not dreading the routine but recognizing it as part of the film’s rhythm.
Clift holds up better than expected, especially considering this was one of his first roles after the 1956 car accident that nearly ended his career. While his reconstructed face shows subtle signs of strain, most notably a stiffness around the mouth that occasionally affects his diction, he still radiates sincerity.
Clift was nearly 40 when the film was released. Though his frame and posture give him a slightly fragile appearance, the dynamic works well against Ryan’s larger, more imposing presence. The contrast between the two men—Clift’s quiet vulnerability and Ryan’s commanding cynicism—adds a noteworthy dynamic to the film.
In some ways, “Lonelyhearts” reflects its lead actor, Clift: a little wounded, a bit uneven, but quietly affecting. It’s not a polished film nor a particularly brisk one, but it has a thoughtful core.
Beneath its drawn-out dialogue and moody tone lies a meditation on loneliness, redemption, and the challenges faced when trying to connect with others. Stick with it, and it offers a modest but meaningful payoff.
