tavm After seeing some scenes and knowing about this movie for years, I finally saw the entirety of this movie just now on YouTube. Natalie Wood confronts Steve McQueen at a crowded scene to tell him she's pregnant. From there, we see how each one lives and hear their feelings on the matter at hand. This was quite a fine drama about what romance is and how one defines what one feels is right about how to handle such delicate situations. There's also some funny stuff involving newcomer Tom Bosley as someone who crushes on Ms. Wood but is otherwise socially awkward around her. So on that note, I highly recommend Love with the Proper Stranger.

MARIO GAUCI Watched out of necessity rather than choice (due to limitations inherent in my DVD recorder's system), I really did not expect to be bowled over by this one – not least because I had been underwhelmed by the subsequent collaboration between director Mulligan and leading man Steve McQueen, BABY THE RAIN MUST FALL (1965), earlier this year – but I was. That said, I knew of its reputation as one of the best showcases for both McQueen and co-star Natalie Wood (she even received an Oscar nod for her work here) – and I certainly agree, going so far as to say that they were probably never better. In essence, this is MARTY (1955) for a younger and more reckless generation (though the protagonists, in this case, are anything but "dogs") – demonstrating the same feeling for the place (New York) and a particular section of its people (Italian immigrants). The narrative (accompanied by a lovely, yet sturdy, Elmer Bernstein score) basically resolves itself in a series of extended scenes set in domestic, working or urban environments – with the most unusual being the opening sequence at a ballroom-cum-employment agency where musician McQueen hustles his way to the odd engagement and, later, when he and Wood hide from her overprotective brothers inside his family's dilapidated dwelling (where Jack Jones is even briefly heard crooning the film's title tune). In this respect, plaudits must go to Arnold Schulman's exceptional Oscar-nominated script: it is no coincidence that his name atypically precedes even that of the supporting cast! Incidentally, while I included the film among my "Drama" viewing (involving, after all, the attempt to abort an unwanted pregnancy borne of a one-night stand), it features almost as much comedy – that, being just as well-observed, adds another layer to the intended realism. Wood's relationship with her possessive family is especially entertaining but also her efforts to dodge, and later withstand, gawky admirer Tom Bosley (in an impressive debut) – whose equivalent in McQueen's life is played by Edie Adams: the former, in fact, has no qualms about taking 'new' girlfriend Wood to her flat while she is away at work! Also, though the latter stages descend into repetitive confrontations between the stars, this does eventually pay off in a hilarious finale – with McQueen deciding to conform to Wood's idealized view of love (even if it means embarrassing himself in public) rather than lose her. In conclusion, I had tried to get hold of this one back in January to be included in my planned retrospective to commemorate the recently deceased Mulligan: while that attempt did not pan out at the time, I happened again upon it just this week, obviously managing now to acquire a copy of the film; for the record, I still have a couple more of the director's efforts to check out (both also delayed for some reason from that initial tribute) i.e. THE GREAT IMPOSTOR (1961) and BLOODBROTHERS (1978).

George Wright Natalie Wood and Steve McQueen are at the pinnacle of their acting talent in this b-w gem from the early 1960's. Two very different people - Rocky Papasano and Angie Rossini - re-unite after a one night stand that results in a pregnancy. How they resolve this crisis is the story of this movie. Along the way, there is drama and a lot of fun. Much of the movie was shot on location in New York City's Lower East Side. There is one particularly gripping scene involving a back-alley abortionist that stands out in this film. The two young people come from Italian immigrant families who provide great entertainment as a backdrop to the love story.In the course of the movie, Angie, who was under the thumb of her domineering family, came into her own and took on a new-found confidence. Rocky's support and love helped her bloom into a wonderful and mature young woman. There were two hysterical dinner scenes, breaking the tense atmosphere of this dramatic coming of age film. Tom Bosley, in his pre-TV days, is the man considered by the family as an acceptable husband for Angie. He is very funny as the good-natured clutz trying to woo her. Other than that, the two great stars,who both died too young,have left their fans with a great love story.

niborskaya changes horses in midstream from a drama to a kind of farce...but that's not a complaint, both aspects are well-done and the change is not jarring. Mulligan's direction is simple and honest and uncluttered by gimmicks. Some observations: The young men in the film all speak with a characteristic "dees, dems and dose" style Italian-American Brooklynese, and the older generation all speak with stereotypical 1st generation Italian accents. However, Angie's accent is almost non-existent. Certainly not like Marisa Tomei's in My Cousin Vinny. Had she had a thicker accent, I think her character would have been less sympathetic...funny how those accents cause one to categorize people. And consequently, Angie comes off like the most intelligent person in the film.Another minor annoyance: if Rocky and Angie had their one-night stand in the summer (as he mentions), and the action takes place sometime in the fall (they are shivering with the cold while waiting outside in one scene)...it seems inconsistent that she would still have an itty-bitty waist (emphasized by the black dress and apron) at the end of the movie, considering she must be at least 3-4 months pregnant. I do love this movie, and I watch it whenever I see it playing.