Mujeres en la noche

SINGLE BARS, SINGLE WOMEN could've been titled THE LAST DAYS AFTER THE LAST DAYS OF DISCO, centering on the notorious 1980's Single Bar scene as the title, based on a Dolly Parton song, depicts the Waterloo of that particular pre-AIDS scenario, and is dated but almost intentionally since the subject, too, was going out of style, fast...

The setup is the most interesting, getting to know the characters ranging from a recently-dumped Shelley Hack, who, despite having gone round-for-round with Robert DeNiro in Martin Scorsese's THE KING OF COMEDY, never got her due as an actress. After a one-night-stand at the central bar, Bandini's, she's haunted by her ex, played by the (at that time) most famous cast member, Paul Michael Glaser (adding to the usual "former TV stars in a TV movie" template): Making Hack and Glaser the Ron Howard/Cindy Williams ala AMERICAN GRAFFITI, and too much time's centered on their working-things-out when more fun's had back at the club, where most of the picture takes place in a single "singles" night...

Actual tunes from the likes of The Stray Cats, Cyndi Lauper, Bob Seger and The Pointer Sisters plays while the bad bar-band glosses through Rod Stewart, Fleetwood Mac and other post-disco hits as our two token "wild youngsters" are, for the most part, fairly subdued: that being Kathleen Wilhoite and Mare Willingham as supposedly loose chicks getting picked up by just about any guy; yet we only see this happening with Wilhoite, who "teases" future ROXANNE actor Rick Rossovich. And when not dancing with players, together they philosophize on the night life...

Meanwhile, virginal Keith Gordon (who unrealistically avoids a very cute Jessica Nelson) hangs with his older, working class brother, Tony Danza; the latter surprisingly portrays the club's clumsy strikeout king. Leading to the best duo the movie has to offer in buried lead Christine Lahti, a nearing middle-age teacher taking a chance to find the perfect man in a barful of imperfect wolves: The first "nice guy" she meets results in a great twist, and then she winds up on an emotional rebound with Danza, after which is a wonderful 11th hour scene between the television TAXI star and future Oscar nominated actress (that very year with SWING SHIFT). They argue on why men are the way they are, and women are the way they are, mostly because of men: This could've been its own brilliant short film, and is the best reason to catch this curio (streaming on Amazon Prime) in the first place.

The teleplay by Michael Bortman presents the ugliness of predatory behavior of the bar scene, but doesn't totally demonise the characters. The narrative focuses on Frankie (Shelley Hack) and Gabe (Paul Michael Glaser) who have been in a relationship that broke down after an infidelity and Elsie (Christine Lahti) who visits Bandini's for the first time. Although Bortman provides depth to each scenario, the only laugh line is between Frankie and Gabe, where he asks her `You think you know what's going on inside my head?' and she replies `You don't have anything going on inside your head. That's not where it's happening with you'. Hack is better than expected, but Lahti over-does her technique.

Mare Winningham is Bootsie, who frequents Bandini's with her friend Dee Dee (Kathleen Wilhoite). Although we see her dancing with someone anonymous, we don't see Bootsie picking or be picked by anybody. However she is on hand to help Dee Dee avoid being raped, with the assistance of Lionel Manetti (Keith Gordon), and as a reward she and Dee Dee help him with his virginity. Winningham uses too much makeup, wears her hair in a floppy style, dresses in a bright pink jacket and baseball cap, and slurs her speech to make her Bootsie appear to be as available as she claims to be. Dee Dee compares their use of the bar to be like using a department store that lets you take goods home for a free trial basis. Winningham makes Bootsie's ethical questions to the seminary-drop out Lionel about her promiscuity innocent and funny.

Director Harry Winer uses the Dolly Parton song Single Women, and a band called The Kincaids at Bandini's for pop song covers.

As a long time Shelley Hack fan, I finally found this rare film decently priced on ebay & grabbed it up. And while I was not expecting much (not a fan of much of anybody else in the film), this was a decent little film. Shelley was strong and consistent. And she isn't always with other projects. Her effortless class and sophistication does shine through here and there and this is not who the character is. But it is not enough to throw the project off.

Tony Danza and Keith Gordon were cast as brothers. Um...yeah right. Tony does his one note performance as always. Very Brooklyn. Very Italian. Keith was sweet and very endearing. But you will never buy them as siblings. Christine Lahti is OK. A tad bland and doesn't really keep your attention. Mare Winningham was also a little bland. Jean Smart was terribly wasted in a briefer than brief cameo.

The highs and lows of being single, hanging out in bars and trying to connect with someone on more than a intimate level is nicely captured. The injured romance between Shelley's character and Paul Michael Glaser was the most watchable portion of the movie. Though Paul Michael's performance was pretty weak.

While certainly not without it's negative aspects- this was a fine little telefilm from the 80's. Using the actual recording of "Single Bars, Single Women" by Dolly Parton was great.