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Verliebt in einen Fremden

Originaltitel: Love with the Proper Stranger
  • 1963
  • 16
  • 1 Std. 42 Min.
IMDb-BEWERTUNG
7,2/10
5807
IHRE BEWERTUNG
Verliebt in einen Fremden (1963)
DramaKomödieRomanze

Füge eine Handlung in deiner Sprache hinzuA salesclerk at Macy's department store finds herself pregnant after a one-night stand with a musician who does not even remember her.A salesclerk at Macy's department store finds herself pregnant after a one-night stand with a musician who does not even remember her.A salesclerk at Macy's department store finds herself pregnant after a one-night stand with a musician who does not even remember her.

  • Regie
    • Robert Mulligan
  • Drehbuch
    • Arnold Schulman
  • Hauptbesetzung
    • Natalie Wood
    • Steve McQueen
    • Edie Adams
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,2/10
    5807
    IHRE BEWERTUNG
    • Regie
      • Robert Mulligan
    • Drehbuch
      • Arnold Schulman
    • Hauptbesetzung
      • Natalie Wood
      • Steve McQueen
      • Edie Adams
    • 85Benutzerrezensionen
    • 39Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 5 Oscars nominiert
      • 1 Gewinn & 11 Nominierungen insgesamt

    Fotos59

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    Topbesetzung45

    Ändern
    Natalie Wood
    Natalie Wood
    • Angie Rossini
    Steve McQueen
    Steve McQueen
    • Rocky Papasano
    Edie Adams
    Edie Adams
    • Barbie
    Herschel Bernardi
    Herschel Bernardi
    • Dominick Rossini
    Anne Hegira
    Anne Hegira
    • Beetie
    Harvey Lembeck
    Harvey Lembeck
    • Julio Rossini
    Mario Badolati
    • Elio Papasano
    Penny Santon
    Penny Santon
    • Mama Rossini
    Elena Karam
    • The Woman
    Virginia Vincent
    Virginia Vincent
    • Anna
    Nina Varela
    Nina Varela
    • Mrs. Columbo
    E. Nick Alexander
    • Guido Rossini
    • (as Nick Alexander)
    Marilyn Chris
    Marilyn Chris
    • Gina
    Augusta Ciolli
    • Mrs. Papasano
    Wolfe Barzell
    Wolfe Barzell
    • The Priest
    Tom Bosley
    Tom Bosley
    • Columbo
    Loraine Abate
    • Maria
    • (Nicht genannt)
    Jean Alexander
    Jean Alexander
    • Charlene
    • (Nicht genannt)
    • Regie
      • Robert Mulligan
    • Drehbuch
      • Arnold Schulman
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen85

    7,25.8K
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    Empfohlene Bewertungen

    9jps76

    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.
    gregorybnyc

    Natalie and Steve Never Better

    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.
    Coxer99

    Love With the Proper Stranger

    Lovely chemistry between superstars Wood and McQueen make this Robert Mulligan a pure charmer. McQueen sheds his tough guy image to play both romance and even a little comedy as well. Oscar nominee Wood matured beautifully into the role of Angie, the girl who finds she's going to have a baby and it's McQueen's! There is a fine performance from Tom Bosley, in his first major role as a clumsy fellow who tries to win Wood's heart. The conclusion to this film is lovely and full of hope for all young lovers out there. A Must see!!!
    Linsaun

    I still remember lines

    I awoke at 3:00 am last night to Love With The Proper Stranger. I hadn't seen it in probably 35 years. I adored it. When I first saw it in 1963 I was 16 and it made a terrific impression about abortion which were in the back alley stage. Today, I look at it, thankful that women don't have to do than anymore. But, mostly I think of how wonderful Natalie Wood and Steve McQueen were together.

    What struck me was how "modern" it looked. I think that was partly because it was filmed in black and white. I know that might sound strange. I think part of it had to do with their clothing. Natalie looked stunning in Edith Head's costumes (wish I had that black dress with the pearls today) and Steve looked very normal in his trench coat. Backdrops of New York City looked present-day.

    I must have seen it many times in the 60's since I knew lines that were coming, early this morning, before they were said by either of these great actors.

    The development of this movie from a drama, into a romantic comedy was done brilliantly and very naturally. I loved the way Natalie used her eyes to speak and how Steve did the same.

    My only regret is that neither of them are with us today.

    I will have to see if this has come out on DVD. I'd love to have it.

    My other favorite movies of hers were Splendor in the Grass (I went out and purchased Wordsworth's poetry immediately after seeing it) and Inside Daisy Clover.
    8Bunuel1976

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

    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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    Handlung

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    • Wissenswertes
      Natalie Wood said that working on this film was "the most rewarding experience I had in all films, all the way around."
    • Patzer
      When Rocky is lying down on Barbie's bed after she has left to sit at the kitchen table, only the second and third buttons on Rocky's shirt are done up, his shirt not tucked into his pants. In the next shot when he is about to get up, the second, third and fourth buttons on the shirt are done up, the shirt still not tucked into his pants. In the next shot as Rocky is now off the bed, all but the top button on his shirt are done up, the front of his shirt now tucked into his pants.
    • Zitate

      Barbie: You know me in the cold weather - how I love to be in love. We are in love, aren't we? Really in love.

      Rocky Papasano: Yeah - you with yourself, and me with myself.

    • Crazy Credits
      As if to recognize the importance of the script, Arnold Schulman's credit appears right after the main title. This was a rarity in an era when screenplay credits traditionally appeared third to last, before the producer and director cards.
    • Verbindungen
      Featured in Entertainment This Week Salutes Paramount's 75th Anniversary (1987)
    • Soundtracks
      Love with the Proper Stranger
      Written by Johnny Mercer and Elmer Bernstein

      Performed by Jack Jones

    Top-Auswahl

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    • What is the reference to "Louie" in the scene where Rocky is trying to kiss Angie?
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    Details

    Ändern
    • Erscheinungsdatum
      • 7. April 1964 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Italienisch
    • Auch bekannt als
      • Desliz de una noche
    • Drehorte
      • 131 East 10th Street, Manhattan, New York City, New York, USA(Rocky and Angie run through St. Mark's Church in-the-Bowery trying to escape her brothers)
    • Produktionsfirmen
      • Pakula-Mulligan
      • Boardwalk Productions
      • Rona
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 8.500.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 42 Min.(102 min)
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.85 : 1

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