Une certaine rencontre

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.

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).

This movie is heightened by the fact that Natalie Wood and Steve McQueen are the stars. They have enough acting talent and chemistry together to make it work. The subject matter probably made this controversial in the sixties but the movie doesn't seem old in a stupid way. The supporting cast is good too - Hershel Bernardi, especially, as Natalie's overly-possessive brother.

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!

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.