Desliz de una noche

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).

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.

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.

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!!!

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.