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CRITICA EN EL PERIODICO "LA VANGUARDIA" (6-5-1964)
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Charming and brilliant
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.
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McQueen and Wood at their peak
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.
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LOVE WITH THE PROPER STRANGER (Robert Mulligan, 1963)
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).
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A very nice Natalie Wood vehicle
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.
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Natalie Wood Makes Good
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).
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.
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I heard bells and banjos with this one
You will get the title and the one line summary if you've seen the flick. I know it sounds like an old chick flick, and to some it might be. However, I think anyone can enjoy this strange love-story. I simply adore this movie. My friends were turned off because it is in black and white, however the story is so engrossing that after a while the lack of color is unnoticeable. The back of the movie is brief and most plot summaries are too. However, this movie is amazing. I watched it four times the weekend I rented it and when I had to return it went out and bought it. Steve McQueen is called one of "Hollywood's most legendary actors." He is remembered for his car chase in Bullit and motorcycle chase in The Great Escape. Although these movies are both truly perfect examples of McQueen's talent as an actor and speed demon, Love with the Proper Stranger should not be forgotten. It displays his softer side as well as his talent purely as an actor. A lot of actors are limited to certain type of movie. McQueen crosses the action figure genre with ease. His great looks and wonderful voice are just bonuses for us obsessed fans. I will admit sometimes I am drawn to movies by an actor's superficial appeals but McQueen is an amazing actor as well as a hottie. His character is perfectly developed and the use of facial expressions are so appropriate. For example, when talking to Angie (Wood) he will often just smile and then drop it when she disapproves.
Natalie Wood is as great as she ever has been. Her passionate character is not overdone. She is real and strong. She is not some dumb girl in most love stories just caught up in charm. She uses her head and then her heart. (I know that sounds cliched). Her lines are not awkward. Every line in this movie is perfectly placed and none are inappropriate. Her character is not single-layered. However, she develops over the course of the movie. It is obvious in her outward appearance, as well as her decisions. She received an Academy Award nomination for her performance (and should have won too). The story addresses some issues too, about love, abortion and family. It does not come across as too heavy and then again not too light for the subject matter. Each is perfectly addressed. This movie is also not without humor. Lines like "we are in love, aren't we?" "Yes, you with yourself and me with myself" are both humorous and revealing. And the entire "you-know..." dinner conversation (e.g. broke her you know legs) is entirely entertaining. Overall McQueen and Wood deliver amazing performances and the story is just beautiful (I can't think of a more suitable word). So no matter what you may have heard this movie was the best rental selection I have ever made.
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Esta película una tanto olvidada es una de las más importantes muestras del talento narrativo de Robert Mulligan, célebre director de Matar a un ruiseñor (1962), que al año siguiente encaró un proyecto diametralmente opuesto que se mueve de manera bastante original y con una estructura. y un estilo poco común entre el drama y la comedia romántica, siguiendo un camino que quizás demasiado a menudo se cuenta en sentido contrario. Mulligan parte de una situación dramática, casi desesperada, para construir una historia de descubrimiento y crecimiento personal que deriva en una comedia sentimental con algunos gags muy logrados y que se basa principalmente en la química dramática y cómica de la pareja protagonista, nada menos que Natalie. Wood, conmovedora en la primera mitad del filme, absolutamente adorable en su conclusión, y el gran Steve McQueen, que aparca la dura personalidad habitual que habitualmente ofrece en pantalla (y también las cabriolas motociclistas por la frontera suiza de ese mismo año a las órdenes de John Sturges en La gran evasión) para componer el retrato de un hombre díscolo e irresponsable que ha de madurar de golpe.
La película se zambulle en un intenso drama nada más comenzar: en una reunión del sindicato de músicos de Nueva York a la que los afiliados sin trabajo acuden en busca de algún encargo para salir del paso, la joven Angie (Natalie Wood) se mezcla con la concurrencia de la atestada sala en busca de Rocky (McQueen). Pero no para ofrecerle trabajo, sino para recordarle cierta noche de unos meses atrás en la que ambos disfrutaron de un amor de fin de semana en una cabaña tras una de sus actuaciones. Y el objeto de su recordatorio no es otro que informarle de que de aquel amor pasajero surgió precisamente eso, un pasajero que saldrá al exterior en apenas unos meses. La situación convulsiona las vidas de ambos: Angie es una joven que busca libertad en el seno de una familia tradicional italiana; sus hermanos la sobreprotegen tanto y su madre asumen un control tan directo de su vida y de su futuro que se ahoga, que necesita cada vez más un espacio propio en el que tomar las riendas de su vida. Su trabajo en unos grandes almacenes le ofrece la posibilidad de conocer gente, pero el tipo de hombres que allí podrían fijarse en ella no le interesan. Un amigo de la familia, un hombre ya algo mayor que bebe los vientos por ella, igualmente de origen italiano y por tanto continuador de la tradición familiar, el hombre que su madre y sus hermanos han escogido para ella, no le apasiona, aunque siempre sería un último recurso de salvación llegado el caso. Por otro lado, Rocky es un irresponsable, un mujeriego que aprovecha sus trabajos esporádicos para conseguir ligas. Uno de ellos es precisamente quien le tiene en su casa y trabaja para pagar el alquiler mientras Rocky intenta conseguir actuaciones o audiciones. Con un niño en camino, la amenaza de estallido de la situación les obliga, como forma más «cómoda» y rápida de salir del paso, a buscar el camino más corto: el aborto.
El talento de Mulligan reside en sus elecciones para contar la historia. En vez de realizar una película convencional, en la que el preludio romántico da paso al drama de una criatura ni buscada ni deseada, empieza por este segundo punto, convirtiendo el prólogo en una gran elipsis que permite al espectador completar la película dentro de su cabeza. . Ese prólogo que no ve caracteriza inmediatamente a ambos personajes: Rocky es una tarambana, aprovecha sus juergas musicales para llevarse chicas a la cama, no cree en relaciones duraderas ni mucho menos en el matrimonio. En cambio, ella es idealista y romántica, y un puntito ingenua, y cree que de una noche de pasión puede nacer una historia de amor profundo y eterno. La cruda realidad trastoca de manera irreversible los planos de ambos. O, mejor dicho, la manera de revertirlo va acompañado de una toma de decisiones en nada gratuita. Al mismo tiempo, Mulligan ofrece cierta interpretación acerca de las costumbres sociales norteamericanas (incluso de las sexuales) de un momento histórico decisivo en el que se dan la mano la tradición puritana de la sociedad conservadora posterior a la Segunda Guerra Mundial y un avance de lo que será el estallido de una nueva manera de entender la pareja, el sexo y la vida en común, que nacerá precisamente en la segunda mitad de los sesenta, tendrá su eclosión en los setenta y perdura en buena parte hasta hoy, a pesar del retorno. del conservadurismo retro. Angie, la hija pequeña de una familia católica tradicional de origen italiano, sin duda en acostarse la primera noche con un chico que le gusta. En ese detalle, incluido en la elipsis inicial, queda depositada simbólicamente la importancia del salto en la evolución de las relaciones humanas que tiene lugar en todo el mundo (o casi) durante esos años.
Ambos imbuidos de ese sistema social opresor de la libertad individual y consumido por una moral social a menudo reñida con la ética personal, Angie y Rocky buscan la solución que les indica el manual: el aborto clandestino. Ahí radica el primer cambio de actitud de Rocky: aunque ella le exime de responsabilidades, él asume la tarea de encontrar el dinero y los medios para solucionar el «asunto». Eso supone un cambio no poco importante en su forma de encarar la vida, de la misma manera que para Angie significa igualmente una novedad: nadie ha hecho nada por ella que no sea obligarle a hacer o pensar lo que le dicen. La escena central, el clímax que Mulligan coloca hábilmente al final del segundo tercio de la película, escenifica acertadamente el cambio personal que ambos personajes sufren.
A partir de ese momento, historia y tono dan un giro espectacular, totalmente opuesto, que, sin embargo, no resulta para nada forzado. Angie apuesta por su independencia y por tomar el camino más cómodo: la generosidad de su pretendiente abre ante sí la posibilidad de una vida tranquila y plácida, un poco al estilo de la que imaginaba en sus sueños de juventud, aunque no con el hombre que ama. Para Rocky, en cambio, el vacío es total: sus noches de música, copas y mujeres ya no le satisfacen, y tampoco la vida junto a una mujer que le garantiza el disfrute material pero no le llena por dentro. Ambas situaciones, curiosamente paralelas y en cierto modo coincidentes, les obligan a buscarse y encontrarse. Un nuevo acierto de Mulligan, que convierte la película no en una loca carrera por ofrecer un hogar repleto de amor y almíbar al retoño que está a punto de nacer (como otras películas, especialmente en los ochenta, se han desvivido por hacer, equivocadamente en casi todos los casos), sino en una historia en la que el amor de la pareja protagonista crece gracias a una aparente adversidad que no ha hecho sino recuperar el momento que Mulligan ha ocultado previamente con su elipsis. El embarazo pasa a un segundo plano y el director se recrea en mostrar el ritual de conquista, el ímpetu de él y la aparente resistencia de ella, su forma de despertarle unos celos y de negarle lo que ya no es sino una necesidad vital para, A través de la angustia, no hacer otra cosa sino retroalimentar sus sentimientos. Este capítulo final, que encuentra su punto de ebullición en la divertida secuencia en la que Angie invita a comer a Rocky a su casa, descansa en la formidable compenetración de ambos intérpretes, ella hermosísima, él torpe, incómodo, caótico. El epílogo, digno de inclusión en un listado de los más memorables happyendings románticos de la historia del cine (espera en la puerta de los grandes almacenes, cartel alusivo, apasionado beso entre la multitud), sanciona la resolución de un intenso drama que termina siendo una divertida comedia, y que apuesta por la búsqueda de la autenticidad en los sentimientos como consecución, más allá de sistemas morales más o menos opresivos o libertinos, de eso que la gente común conoce como felicidad, y que no suele encontrarse allí donde muchas veces pensamos.
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