Love with the Proper Stranger (1963) User Reviews (84)

Memorable performances by Natalie Wood and Steve McQueen - perfect together

[ruby_fff · 8/10 · 30 May 2000]

I really like this film. It's exciting to watch these two wonderful talented actors working together. "Love With the Proper Stranger" is always a favorite and I'm irresistibly hooked on repeated viewing.

Natalie Wood is the feisty young working woman struggling for her chance to be independent, to live away from the family (attached Italian parents and brothers in NYC setting) and be on her own terms. Steve McQueen is the center of opposite attraction: the problem and the goal. He is a union musician who is trying to be financially independent; he also has close family ties with both endearing mother and father. Edie Adams is in a supporting role as McQueen's girl friend with an apartment to lean on. Tom Bosley is the kind and good-hearted suitor that Wood's character's family approves. It's a heart-warming, very much a 60's love story that touches on the tough subject of abortion, yet brims with humor, drama and affectionate smiles.

Shot in black and white; music by Elmer Bernstein, with the theme song sung by Jack Jones; produced by Alan J. Pakula; the film is keen and sensitively directed by Robert Mulligan. His films include the award winning 1962 "To Kill A Mockingbird"; the intriguingly haunting 1972 "The Other"; an unforgettably fun 1961 "Come September" with Gina Lollobrigida & Rock Hudson, Sandra Dee & Bobby Darin in Italy; the 1971 classic coming of age film "The Summer of '42" with lovely Jennifer O'Neill; and another poignant coming of age story from a girl's point of view in 1991 "The Man In the Moon", with Reese Witherspoon in her impressive film debut.

good on-screen chemistry makes for a great little film

[rupie · 8/10 · 27 July 2000]

Very satisfying movie that involves us completely in the conflicted relationship of the leads, played beautifully by McQueen and Wood (evidently Paul Newman was originally slated for the part). We find ourselves really rooting for them to get together. Sounds like a soap-opera "chick flick", but the story is sufficiently gritty and has enough comic touches to appeal to the guys, too. B&W works well to emphasize the New York atmosphere of the flick, with its many locale shots. The ethnic Italian ethos is well-captured, too. And to top it off is a wonderful score by Elmer Bernstein, whose music veers awfully close to sounding like that other Bernstein (and that's not a criticism!). I don't know why we don't see this one more often; thank you American Movie Classics.

LOVE WITH THE PROPER STRANGER (Robert Mulligan, 1963) ***1/2

[Bunuel1976 · 8/10 · 1 April 2009]

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).

One of Steve McQueen's Best!

[teejay-4 · 21 October 2003]

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!

Arguably Natalie Wood's best performance

[moonspinner55 · 7/10 · 22 May 2001]

Natalie Wood was an actress who really flourished under a tight direction. Robert Mulligan seems to know just what to do with her in this comedy-drama about pre-marital sex and its consequences, unlike Paul Mazursky ("Bob, Carol, Ted & Alice") who was too loose or Douglas Trumball ("Brainstorm") who was too distracted. Mulligan is graceful with Wood, but strict as well. She comes off forceful, headstrong and attractive. Of course, having strong, easy Steve McQueen as a co-star didn't hurt, and Tom Bosley is very funny in a supporting role (the sequence at his family's house could very well have gone too far, and probably does, but the nimble staging of it made me laugh). A perceptive and lovely movie which allows its two main characters to grow. They think on-screen, they whisper to each other, they fight. It isn't as gritty as I would have liked (and it has that standard happy ending), but it isn't cluttered up with gimmicks either. Extremely pleasant viewing, and Wood and McQueen together have a warmly real, smooth-and-scratchy rapport. *** from ****

Charming and brilliant

[jarrod76 · 9/10 · 4 March 2004]

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.

American Kitchen Sink

[JamesHitchcock · 6/10 · 19 January 2012]

"Love with the Proper Stranger" tells the story of two young Italian-Americans from New York. Angie Rossini a shop girl at Macy's department store, and Rocky Papasano, a jazz musician, have a brief affair, as a result of which Angie finds herself pregnant. Angie tracks Rocky down, hoping that he will pay for her to have an abortion, something which was still illegal in the 1960s.

The film is an uneasy mixture of two genres. The earlier part seems like an American version of the British social-realist "kitchen sink" dramas of this period. There is the same documentary-style black-and-white photography, the same concentration upon the seedier elements of working-class life, the same dance-halls and crowded, run-down apartments. I was particularly reminded of "A Kind of Loving" and "A Taste of Honey", both of which deal with the subject of an unmarried girl getting pregnant, a subject which would have been a controversial one on both sides of the Atlantic in the early sixties.

Abortion was an even more controversial subject at this period than unmarried motherhood, so it was a brave move on the part of the film-makers to tackle it. Neither Angie nor Rocky raise any moral objections to the procedure, even though she was raised in a Catholic family who would have regarded abortion as a mortal sin. They only back out when Rocky discovers that the abortionist is not medically qualified and refuses to let Angie go through with the procedure, realising that a crude backstreet abortion would be very dangerous. It struck me, in fact, that the film-makers were arguing for abortion to be legalised to make it safer and to prevent young women from risking their health in this manner.

After the abortive abortion, the tone of the film changes to that of a romantic comedy. Rocky proposes marriage to Angie but she turns him down, well aware that he is doing so not out of love but out of a sense of moral duty and under pressure from her family. Another suitor for Angie's hand arises in the shape of the unattractive cook Anthony. Anyone familiar with the conventions of the rom-com will be able to work out the ending from here.

The film was nominated for five Academy Awards, although three of those (for art direction, cinematography and costume design) were in categories reserved for black-and-white films, at a time when most films were being made in colour. (Separate black-and-white awards were to be abolished after 1966). It brought Natalie Wood the second of her two "Best Actress" nominations (she was to lose to Patricia Neal), and while Wood's performance as the naive but determined young Angie is a reasonably good one, it didn't really strike me as being of Oscar-winning calibre. Steve McQueen is also good as Rocky.

The kitchen-sink films of the sixties are very much of their time, but that does not prevent their being of interest to the modern viewer, both as dramas and as pieces of social history, and I felt that "Love with the Proper Stranger" might have been more interesting had screenwriter Arnold Schulman and director Robert Mulligan made it as a straightforward social-realist drama without trying to turn it into a standard rom-com halfway through. It has its good points, but overall cannot compare with "To Kill a Mockingbird", Mulligan's great film from the previous year. 6/10

McQueen and Wood at their peak

[barryrd · 8/10 · 4 August 2008]

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.

Wood and McQueen are wonderful together in bittersweet comedy/drama...

[Doylenf · 7/10 · 27 August 2006]

NATALIE WOOD has probably never been more appealing than she is as a young Italian girl facing the problem of unwed motherhood after a brief affair with a man of equally modest means, STEVE McQUEEN. The simple story revolves around the situation of a girl whose pregnancy prompts her boyfriend to suggest an abortion because he's unwilling to commit himself to a relationship.

It being the 1960s, the issues are played and discussed in the context of the time which may make the film seem dated now. But it's played with such charm by the two leads and given such a gritty, believable New York City background flavor that the result is a romantic comedy/drama that should appeal to any discriminating movie fan.

Although there are some good supporting roles, notably EDIE ADAMS as a showgirl friend, director Robert Mulligan keeps the focus on Natalie and Steve and they're so strong that they make us feel it's a two-character film deserving of all their attention.

Natalie's Academy Award nomination was well deserved. She's as sensitive and appealing as ever and McQueen makes an excellent co-star.

Shockingly honest

[elizabeth-chesney · 8/10 · 24 February 2005]

I saw this film for the first time today on HBO (thanks guys, for occasionally bring out older nuggets like this one to re-introduce them to subsequent generations!).

The first half of this film was stunning in it's honesty, and in the subtle directing, acting and script. The abortion scene brought tears to my eyes, as it was so REAL: There were so many underlying themes intersecting all at once: First for Natalie Woods character -- it was clear that she was hell bent on taking control of her life and her future, and that meant ending the pregnancy...and yet, there was no denying the strong bond she felt with Steve McQueens rebellious player character (I always feel sorry for women who fall for guys like this!!!!!!) -- she wondered: Could it work? But then reality slaps her in the face and her steely resolve returns...and also she's got to be scared to death just for the physical invasion she is about to endure under such circumstances.

And then, complicating the matter even further, was Steve's character, waiting outside the door for her to finish the procedure -- he, too, was clearly experiencing many conflicting emotions all at once: of course, being a player with no plans for being tied down, he was relieved she was "taking care of it." And yet -- like Natalies character, he was strangely drawn to this woman he had only really "known" for less than a day -- could it be love? Could it be REAL? I have rarely seen such genuine passion in a film as the scene where he bursts in, grabs Natalie, and when she falls into his arms sobbing, he whispers: "I would kill them before they hurt you." Not a dry eye in the house I'm sure. What a moment. Adding to the poignancy is the fact that both of these fine actors died in the "live fast/die young" category of Hollywood actors -- making it all seem that much more touching.

The second half of the movie became more typical, but that's OK. Please, Hollywood -- let us say once again "They DO make movies like that AGAIN!"

Superb film-making!

[JasparLamarCrabb · 7/10 · 10 June 2007]

Extremely well made and actually pretty sobering look at an unwanted pregnancy. It's frank, honest and at times fairly funny. Needless to say, it's also very ahead of its time. Natalie Wood and Steve McQueen are well-teamed as an accidental couple who find themselves in a real jam: she's pregnant. The acting is excellent, with Wood giving a really natural performance. McQueen is every inch her equal and the supporting actors are well cast. Herschel Bernardi is a big plus as Wood's overprotective brother. Director Robert Mulligan successfully walks a tightrope between gloom and doom and hopefulness. Filming on real NYC locations adds a lot of heft to the film. It's surely nothing like anything Wood was acting in during this time.

Love with the Proper Stranger made a perfect teaming for Natalie Wood and Steve McQueen

[tavm · 9/10 · 14 February 2018]

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.

Natalie Wood's Best Vehicle

[evanston_dad · 7/10 · 16 November 2006]

This refreshingly bitter and raw-edged relationship dramedy showcases Natalie Wood in her best screen performance (and at her most gorgeous, to boot).

She and Steve McQueen play antagonistic lovers who get pregnant before they know each other very well, and proceed to make a life together, becoming acquainted along the way. Director Robert Mulligan gives the film a gritty and realistic patina -- this is no idealized studio image of New York. It's strong and unique stuff for 1963, a time of transition in American film from Hollywood gloss to art-house realism.

Grade: A-

"Daring" movies aren't always great

[john_meyer · 3/10 · 22 June 2010]

I grew up in the 1950s and 1960s, so I know first-hand what movies were like back then. The subject matter for this movie and how it is treated were definitely pushing the envelope of what the studios would allow, and what audiences were ready to see at that time. Often, however, films that are daring can't quite get beyond the self-congratulatory "look at us and how daring we are being" and actually take us somewhere we haven't been before or tell an original story.

The overall structure of the movie is fine, but it fails on two main points. First, at no time are we given any reason to see why the two characters are attracted to each other. While they are both gorgeous people to look at, and both well-versed in the 1950s morality that says you should do "the right thing," there is no quality, no dialog, and little action that would make one character attracted to the other. It is true that Steve McQueen's character does some amazingly kind and considerate things, but I cannot think of one thing Natalie Woods' character does that would make anyone attracted to her as a person. He rescues her, helps her, tries to understand her, defends her, and gets in a fight for her, but she never does one thing to help him, elevate him, intrigue him, or motivate him. Other than her amazing looks, we are given no reason why McQueen would fall in love with this perfect stranger.

The second and bigger failing is the direction. The screenwriter provides very sparse dialog, and most scenes find the actors posing, glancing, leaning, sitting, standing, moving, and generally fidgeting their way through scenes, as if random motion is going to convey some inner feelings. This is obviously entirely the work of the director. Emotions seem to turn on and off with almost every cut, and at times it is impossible to tell what the heck is going on.

This random motion turns to random Emotion in the final scene of the movie, something I guess I should have expected, but something which does not logically follow anything that comes before it, especially the immediately preceding scenes.

I have seldom seen a movie with a more thoroughly botched ending.

And finally, while others see chemistry between McQueen and Woods, I saw absolutely nothing. To me, chemistry is what we saw many years later between McQueen and Faye Dunaway in the original "Thomas Crown Affair." That was pure electricity. By contrast, this is barely a spark.

Natalie and Steve Never Better

[gregorybnyc · 13 May 2004]

This film has always struck me as Natalie Wood and Steve

McQueen's best work in movies. Both would go on to successes

and failures, but neither would seem as natural and as unaffected

on screen again.

The story of a good working-class Italian girl in New York who gets

pregnant by a man she hardly knows, is very strong stuff for 1963.

So is their decision to have an abortion. Roe vs. Wade was nearly

a decade in the future. Mulligan shows a very gritty, dirty, New York

which has emerged from the 50s as a crumbling relic of a city,

nowhere as clean and shiny as it is today. McQueen is a callow

young musician, not looking to settle down with anyone, let alone a

single pregnant girl, even if he is at fault.

The trip to a bad neighborhood to get the abortion is chilling, and

Wood's absolute terror is genuine here. McQueen being

reluctantly honorable is very sexy here. The rest of the film with her

facing down her overly protective Neanderthal brothers and getting

her own apartment, follows the young lovers as they try to do the

right thing. Steve's poster--"Better wed than Dead," is a sweet

coda.

I loved this movie. It struck this teenager at the time, as a very

sophisticated film. Natalie Wood is incandescently beautiful in

black and white and still the loner, McQueen's intensity is a bit

more subtle than usual. Good supporting cast. This was an era

where the final black and white movies were being made--TO KILL

A MOCKING BIRD, BIRD MAN OF ALCATRAZ, THE AMERICANIZATION OF EMILY, PSYCHO were the last gasp of this

medium.

Long overdue for DVD release.

Surprising stuff for 1963...and despite the title, it's NOT a love story!

[planktonrules · 7/10 · 24 August 2020]

During the 1960s, Natalie Wood made quite a few pictures that pushed the boundaries of conventional morality. She played a stripper in "Gypsy", a woman who has a nervous breakdown in "Splendor in the Grass", a modern girl who enjoyed sex in "Sex and the Single Girl", a drugged out and suicidal actress in "Inside Daisy Clover" and a kleptomaniac in "Penelope". Surely, she performed in a lot of non-traditional roles and it marked a clear end to the days of the Production Code!

Here in "Love with the Proper Stranger", she plays a young pregnant woman. She got pregnant after an apparent one-night stand and now as the film starts, she's letting the man (Steve McQueen) know that she needs money for an abortion! Then, he gets cold feet and wants to marry...but she isn't going to just marry him in order to be married. She wants more from marriage and from life. As I said, the chose some very gritty roles during this period of her career.

So is this film any good? Well, it's well made but I wonder why the film was cast as it was. Both Wood and McQueen are inexplicably cast as Italian-Americans....and her parents are played by Jewish actors in the film. Odd to say the least and it makes you wonder why they either didn't pick different actors OR had them play different ethnicities. Regardless, to show they were from Italian families, most of them yell a lot! I think toning it down a bit might have worked better for me, as screaming Italians seem like a broad stereotype.

All in all, a very interesting and unusual film...most notable for some interesting performances. I wasn't thrilled with the ending (I think she chose wrong), but I appreciate the many realistic things that were talked about and addressed in the film. Worth seeing, though I am sure the subject matter might repel some folks. After all, the film is about abortion...and is a very serious film despite the title, which sounds more like it's going to be a romance.

A look at a time long gone in America

[SimonJack · 8/10 · 7 May 2016]

'Love with the Proper Stranger" is much more than a standard comedy-romance and drama. Using elements of these genres it explores and shows aspects of mores, culture, time and place of the past. It's a snapshot of mid-20th century America. More specifically, of city life within boroughs. And explicitly, pregnancy that results from a one-night stand. Other reviewers have noted that this was before the U.S. Supreme Court legalized abortion in 1973.

I agree with those reviewers who say that this may be Natalie Wood's finest performance. She does a superb job as Angie Rossini, going through a range of emotions and stages. Steve McQueen is Rocky Papesano, and he does very well in an atypical role. The supporting cast all give very good performances as well. Edie Adams is especially good as Barbie, and Penny Santon is very good as Mama Rossini.

Judging from reviews I've read, it's clear that different people will view a twist in this plot differently. That has to do with the hero rescuing the heroine from a planned abortion. The title is interesting. "Love with the Proper Stranger" seems to say that if one picks the right person, or type of person, for an affair (even a one night stand), it will lead to love, marriage and a life together. In the case of the woman, the man will stand by her, protect her, and fall for her. In the case of the man, he will find her attractive, be drawn to her and fall for her. And, in the course of that love developing, there is no thought of destroying the baby that brought them together.

A nice little subplot in this film looks at an old-fashioned idea of chivalry and decency. That is another man who loves the girl, wants to marry her and will tell his relatives that he is the father of the child. This all may seem strange in the 21st century, especially to younger people. In a society that has few taboos or restrictions on sex, and that espouses equality of gender traits, choice and tolerance - in such a society the time-honored mores of responsibility, honor, sacrifice and fidelity may seem strange indeed.

This film deserved the five nominations it received for Academy Awards.

Good Movie, but not real !

[HoferPM-1 · 7/10 · 20 January 2008]

Love Natalie and adore Steve McQueen whom I still think is and was the best looking actor ever. However, a girl working in Macy's would never have gorgeous clothes like Natalie is wearing unless of course she has the employee's discount and being able to afford an apt. in those days could happen, but taking a taxi? I don't think so. The idea of this movie was daring for the time it was made, but after the beginning of the movie which was tense, it went downhill for me because of the slap stick type of comedy that went on. Edie Adams was fantastic and all those wonderful dogs were the best. Edie is gorgeous. I lived in NYC at the time depicted in this movie and that was real enough, and I lived in a fifth floor walk up, but I still say how could she afford such a great place to live in on a shop girl's salary. McQueen's haircut is so today and so is Natalie's. I miss McQueen and am so sorry he died so young.

Wood and McQueen--Ya Know--Something Clicks

[frankwiener · 8/10 · 26 November 2016]

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?

A woman's Steve McQueen Movie.

[eaglejet98 · 6/10 · 21 May 2002]

The only thing wrong with this movie is that the characters are unbelievable.

McQueen is hampered by the fact that he IS Steve McQueen. You just can't see Josh Randall as a second rate musician. Natalie Wood is stymied because she is cast as a good Catholic girl who apparently had no trouble sleeping with a guy on an overnight stand.

I'm a huge Steve McQueen fan so I hate to criticize him. But he still does a lot of his goofy overacting in this film; the wild eyed facial expressions and use of his hands as if they were ping-pong paddles. The simple fact is McQueen could never do comedy. And even when he made a dramatic movie, any comedic relief scenes he did were always inept. The one exception is his role as Ringa in Never So Few. The initial comic scenes of him fighting with MPs were really action scenes (which he always did well) meant to have a comedic result. And he came pretty close to blowing those scenes as well.

McQueen and Wood are square pegs in round holes in this flick. But every woman I know that saw this film loved it...?

Natalie Wood Makes Good

[wes-connors · 9/10 · 15 July 2008]

This starts out being an extraordinary drama, and ends up being an excellent romantic comedy. Both are done well, although "Love with the Proper Stranger" might have been better off sticking to the dramatics. Natalie Wood (as Angie Rossini) and Steve McQueen (as Rocky Papasano) are an infectious team. As the film opens Ms. Wood is tracking Mr. McQueen down, to ask for help in obtaining an abortion. McQueen seems to have forgotten the dalliance with Wood (blame it on the scotch).

Watch for a brief moment when McQueen looks Wood up and down, in their first on-screen scene; this is, perhaps, when McQueen recalls her, and the point at which he begins to "fall in love" with her character (as the sexual attraction had already reached culmination). McQueen's realization is long and confused; but, Wood visibly "falls in love" with McQueen while watching him interact with his parents. In this case, disposing with the initial sexual attraction has made the characters' "romance" more interesting. This is difficult to play so convincingly; and, the lead performances, along with the direction of Robert Mulligan, are award-worthy.

The dramatic highlight will be obvious; the comic highlight is the scene with Wood having dinner with Tom Bosley (as Anthony Columbo)'s family. This scene works so well because it both parallels and contrasts Wood's earlier meeting with McQueen's family (when she fell in love with him). Mr. Bosley heads up a strong supporting cast. Arnold Schulman's script, and the Milton R. Krasner photography, are also outstanding. The unworthy last act is disappointing, but not damning.

********* Love with the Proper Stranger (12/25/63) Robert Mulligan ~ Natalie Wood, Steve McQueen, Tom Bosley, Edie Adams

A not very romantic not very funny comedy

[valleyjohn · 7/10 · 24 April 2021]

Steve McQueen wasn't known for his romantic roles . In fact he only briefly had romantic scenes in sone of his movies . This is as close to a romantic comedy that he ever made and even then , that description is pushing it .

Natalie Wood plays a salesclerk at Macy's department store , who finds herself pregnant after a one-night stand with a musician played by McQueen , who does not even remember her.

This is a really old fashioned film . The morals are of the time and this kind of film would feel really odd if it was made today.

It's all about doing the right thing and that's getting married no matter how much they like or love each other .

It's a bit of a slow burner. At times it has the feel of a soap opera or even an episode of a TV show.

There is no real spark on the screen between McQueen and Wood and that's probably because the script keeps them mostly physically apart .

It was interesting to see Tom Bosley play the would be boyfriend who is a clumsy oaf . He looks sixty years old even then , even though he was probably just in his thirties.

All in all this , is a very average unromantic unfunny comedy that I still found pretty watchable .

A very nice Natalie Wood vehicle

[Red-Barracuda · 8/10 · 13 September 2010]

Love With The Proper Stranger is a romantic comedy with some very serious undertones. It basically tells the story of the result of a one night stand where a girl becomes pregnant and the chap responsible is forced to deal with the situation. At the time, the themes of unmarried pregnancy and back-street abortions were pretty shocking stuff. To today's audiences, this sort of stuff is now covered without a seconds thought in daytime soap operas, so it might be difficult appreciating the daring qualities of this production. However, the scenes where Natalie Wood visit's the abortion 'clinic' are still fairly grim. It has to be said that they sit relatively uncomfortably within the movie as a whole, as the tone otherwise is mainly light-hearted with quite a bit of comic interplay between the various characters. In my opinion it doesn't damage the film however, as it gives it a little bit of an edge and helps add our sympathies to Wood's character. It does have to be said that despite the presence of Steve McQueen, this is undoubtedly Natalie Wood's film. She is the heart and soul of the production and it's hardly surprising that she was nominated for an Oscar off the back of this. Although quite how McQueen's character could forget having a liaison with someone like Natalie Wood is a little mystifying, is he insane? Anyway, generally speaking, McQueen is forced to take a back seat in this film but he is good none-the-less. The film also boasts a fine comic appearance by Happy Days regular Tom Bosley. Quite amusingly he even looked middle-aged way back then! On the down-side, the film does seem to end perhaps too abruptly, it gave the impression that the film-makers had ran out of their allocated time and just wanted to wrap things up quickly. This is, however, a very minor complaint.

Love With The Proper Stranger is a quality romantic-drama with comic moments. It's a nice showcase of 60's New York with a lush score accompanying it. However, at the end of the day, I would recommend it mostly for Natalie Wood. I thought she was terrific.

Very poor by todays standards

[billsoccer · 6/10 · 15 September 2020]

This might have been edgy in the early 60's. However, the elephant in the room - abortion by a seeming Catholic brings no drama! Granted, we may not have predicted the divorce boom at this time, but I greatly dislike the 'Hollywoodization' of the prospects of a (more or less) shotgun wedding. Steve McQueen may have been cool, but boy, he couldn't pull off comedy! I think 6 stars out of 10 is generous, based more on seeing the 2 stars as well as some extras who were unknown at the time

Thoroughly forgettable

[daleholmgren · 4/10 · 30 August 2014]

Perhaps some viewers will be enticed by the prospect of Natalie Wood playing opposite Steve McQueen, but here McQueen plays a bit of a boob, thoroughly confused by the opposite sex. The dialogue is full of New York's idea of comedy - "Whaddya want me to do about it?" "You wanna go? Go! Ya got no reason to stay here - fuggetaboutit!" The movie meanders about in trying to find a way for McQueen to actually start caring about what happens to Wood, and we get a little tired of the slow pace in him coming to his senses.

Perhaps some will find this to be 'dramatic tension', but I didn't, and I found the end of the movie to be unfulfilling, even trite.