form y Lonely Hearts single work   film/TV  
Issue Details: First known date: 1982... 1982 Lonely Hearts
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AbstractHistoryArchive Description

Lonely Hearts explores the complex relationship between two middle-aged people who have never had a relationship before. Peter is a piano tuner who, although almost fifty years old, has always lived with his mother. After her death, he joins a dating agency and meets Patricia, a shy bank clerk in her thirties who's afraid of sex. Their friendship blossoms during rehearsals for an amateur theatre production, but falters when Peter's desire becomes too urgent.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Lonely Hearts Rewatched – Endearing Misfits Find Love on Their Own Terms Luke Buckmaster , 2015 single work review
— Appears in: The Guardian Australia , 7 September 2015;

— Review of Lonely Hearts Paul Cox John Clarke 1982 single work film/TV
Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey Grip Allison Craven , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 333-342)
'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
A Celebration of Wendy Hughes Philip Tyndall , 2010 single work biography
— Appears in: Australian Perspectives Essays 2010;

'I don't remember exactly when I first saw Wendy Hughes, or more accurately when I first became aware of Wendy Hughes as a presence on the screen. I thought I had first seen her in Lonely Hearts (1982), the AFI award-winning Best Feature film directed by Paul Cox, but I now realise she must have been in earlier Australian films, or on television without my being aware of exactly who Wendy Hughes was.

I would probably have seen her as one of the fine cast of My Brilliant Career (1980), directed by Gillian Armstrong, a film that did much to re-establish the reputation of Australian filmmaking internationally. As the concerned, caring Aunt Helen of Judy Davis' Sybilla, it was an important early step for Wendy Hughes and clearly demonstrated her compassionate side.'

Idiosyncrasy and Film Alexander Garcia Duttmann , 2009 single work criticism
— Appears in: Senses of Cinema , no. 53 2009;
'A European Heart' : Exile, Isolation, and Interiority in the Life and Films of Paul Cox Marek Haltof , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 127-135)

'Although they possess 'a European heart', writes director Paul Cox of his films, their roots are firmly in Australia (1998a: 82). In this chapter, I attend to the diasporic aspects of the biography and early films of Paul Cox, exploring well-known works such as Kostas (1979), Lonely Hearts (1982) and Man of Flowers (1983), and paying particular attention to My First Wife (1984). This largely historical chapter works to better comprehend how such films, from the 1970s and 1980s, 'construct' Paul Cox as an exilic, 'homeless' Australian film-maker. These films, well received by Australian and international audiences and critics, popularized Cox's name in the art house world as an Australian auteur making subtle films about human relationships, as 'Australia's Ingmar Bergman' (Chipperfield 1989: 12; Rattigan 1991: 224-26). It is through the recurring themes of exile and isolation, the diasporic motifs of memory and migration, and filmic strategies deploying the construction of mental landscapes and 'European' interiors that the personal relationship between Cox the film-maker and his adopted homeland is to be understood. ' (Introduction)

Lonely Hearts Rewatched – Endearing Misfits Find Love on Their Own Terms Luke Buckmaster , 2015 single work review
— Appears in: The Guardian Australia , 7 September 2015;

— Review of Lonely Hearts Paul Cox John Clarke 1982 single work film/TV
The Critical List Evan Williams , 2008 single work column
— Appears in: The Weekend Australian , 6-7 December 2008; (p. 4-5)
Evan Williams surveys the possibilities and then selects his five favourite Australian films.
'A European Heart' : Exile, Isolation, and Interiority in the Life and Films of Paul Cox Marek Haltof , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 127-135)

'Although they possess 'a European heart', writes director Paul Cox of his films, their roots are firmly in Australia (1998a: 82). In this chapter, I attend to the diasporic aspects of the biography and early films of Paul Cox, exploring well-known works such as Kostas (1979), Lonely Hearts (1982) and Man of Flowers (1983), and paying particular attention to My First Wife (1984). This largely historical chapter works to better comprehend how such films, from the 1970s and 1980s, 'construct' Paul Cox as an exilic, 'homeless' Australian film-maker. These films, well received by Australian and international audiences and critics, popularized Cox's name in the art house world as an Australian auteur making subtle films about human relationships, as 'Australia's Ingmar Bergman' (Chipperfield 1989: 12; Rattigan 1991: 224-26). It is through the recurring themes of exile and isolation, the diasporic motifs of memory and migration, and filmic strategies deploying the construction of mental landscapes and 'European' interiors that the personal relationship between Cox the film-maker and his adopted homeland is to be understood. ' (Introduction)

Idiosyncrasy and Film Alexander Garcia Duttmann , 2009 single work criticism
— Appears in: Senses of Cinema , no. 53 2009;
Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey Grip Allison Craven , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 333-342)
'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
A Celebration of Wendy Hughes Philip Tyndall , 2010 single work biography
— Appears in: Australian Perspectives Essays 2010;

'I don't remember exactly when I first saw Wendy Hughes, or more accurately when I first became aware of Wendy Hughes as a presence on the screen. I thought I had first seen her in Lonely Hearts (1982), the AFI award-winning Best Feature film directed by Paul Cox, but I now realise she must have been in earlier Australian films, or on television without my being aware of exactly who Wendy Hughes was.

I would probably have seen her as one of the fine cast of My Brilliant Career (1980), directed by Gillian Armstrong, a film that did much to re-establish the reputation of Australian filmmaking internationally. As the concerned, caring Aunt Helen of Judy Davis' Sybilla, it was an important early step for Wendy Hughes and clearly demonstrated her compassionate side.'

Awards

1982 nominated AFI Awards Best Screenplay, Original or Adapted.
1982 won AFI Awards Best Film
Last amended 13 Nov 2013 13:28:06
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