Love with the Proper Stranger

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).

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; also directed by Robert Mulligan.

I don't consider myself a huge fan of love stories, but every now and then one comes along that really works for me, and this is one of those rare occasions. While some reviewers consider the subject matter and the prevailing culture of the film to be "dated", do movies have to mirror the 21st century in order to be important, interesting, or even entertaining? I never dismissed "Casablanca" as "dated" because it happened to take place in 1941, a time when even this old geezer didn't yet exist. Now, why would I do that?

This month's tcm star of the month being Natalie Wood, viewers were treated to a fascinating introduction by Wood's former husband, Robert Wagner, and her daughter, Natasha Gregson Wagner, who was raised by Wagner since infancy. I very much appreciated their special, personal rapport and their "inside knowledge" regarding the making of this film, as well as the two other films shown on the same night, "Splendor in the Grass" and "West Side Story".

The success of this movie, brilliantly directed by Robert Mulligan ("To Kill a Mockingbird"), revolved around the highly engaging interaction between the two main actors, Natalie Wood as Macy's salesperson Angie Rossini and Steve McQueen as musician Rocky Papasano, but I don't think that their performances would have been as alluring without a very intelligent and complex script, as written by Arnold Schulman. Another vital element of the film's appeal was the outstanding supporting cast, especially Tom Bosley as an awkward, love-stricken restaurateur, Hershel Bernardi as Angie's possessive, produce pushing brother, and Edie Adams as an exotic dancer who also serves as Rocky's roommate of the moment. Portraying their characters as victims of intense personal crisis, both Wood and McQueen very credibly project an entire spectrum of feelings that convey their general state of extreme confusion and frustration. I especially appreciated how McQueen developed his character from unlikable to sympathetic in the course of the film, often employing his entire body in the process, and how Wood enabled us to share the wide range of emotions that Angie endured at a time of severe inner turmoil. The scene of her initial attempt at leaving the only home that she had ever known, for better or for worse, should "hit home" with anyone who had experienced a similar situation in their lives, including myself. Bravo Natalie. Loved the clothes hanging out of the hastily packed suitcase. Nice touch.

Without fatally destroying the end of this movie for anyone who has never seen it, I was still left guessing how it would end until the very last scene. Even though the ending had its corny aspect, we need to accept the time as the dawn of the protest movement, so the final scene may have had a very different impact on an audience back in 1963 than it does in 2016. I still loved the final resolution. It actually brought tears to my hopelessly sentimental eyes. How about you?

Watching this film today, it's easy to forget how daring it was for its day (1963) -focusing on an illegal abortion.

It's also an fascinating mix of conventional romantic comedy mixed with real grit and passion - and the fact it starts off as unconventional as possible; girl meets boy, girl gets pregnant, girl and boy try to organise an abortion - and THEN girl and boy fall in love.

Natalie Wood was often miscast throughout her career - her dark beauty was used to try and pull of Nat as Hispanic, Nat as half-black, Nat as Mexican. In this film she's cast as Italian, and pulls it off perfectly. This could possibly be her greatest performance (alongside Splendor in the Grass and The Cracker Factory). She received an Academy Award nomination for this film. She gives such a natural performance (usually she's more self-conscious on film) - she is such a joy to watch and absolutely stunning.

Steve McQueen is at his most charming - usually he is playing the hero of an action film, so its great to see him display tenderness. Wood and McQueen have such great chemistry, its a shame this was their only film together.

Added to the mega-watt performances is the beautiful black and white cinematography and the NYC location shooting. A great film. Completely underrated.

This has always been one of my absolute favorite movies! Steve McQueen and Natalie Wood were perfectly suited for each other. She played brave Angie Rossini wonderfully - trying so hard to break away from her protective Italian-American family, trying to be strong and capable in the face of such a difficult situation, trying not to show how scared she really is.

But Steve McQueen is the real sweet part of this couple. He is corrupt and funny and unsuspectedly tender and responsible and caring. It should be noted for the fact that it marked his departure from the anti-hero roles that he specialized in (and excelled in). This wasn't an action movie but it was one of Steve's absolute best performances. She was nominated for an Academy Award and deservedly so but he was overlooked and that is criminal!

Can you tell that I love this movie?? Well, I do!