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It's easy to imagine a dozen different movies incorporating this plot point after an extended introductory prologue, or as the midpoint to a lengthier, more holistic romantic drama. We don't know anything about these people, only that a few months ago, he connived her into having sex and now she's more flatly disappointed than pissed, while he's infinitely more embarrassed than contrite. And it is at this moment that the film won me over to its side as much as it ever could: not just for the forcefulness of having two characters in a movie from 1963 talk about an unwanted pregnancy in language that's barely coded at all (and in fact, all of the coding that's done is around the hoped-for abortion, not the pregnancy itself), but for the narrative audacity of starting off at this point. They verbally fence for a couple of moments as he fails to place her and pretends that he's doing it to be cute, and she eventually runs out of patience and just comes out with it: he got her pregnant a couple of months back, and she wants to know if he's going to help her take care of the situation. The script, by Arnold Schulman, starts off well after the beginning of the story: a young woman, Angie Rossini (Natalie Wood), fights her way into the crowd to catch the attention of the distinctly older Rocky Papasano (Steve McQueen). Whatever gracefulness might have tried to sneak in is forcefully and crudely stamped out, and we don't even know who our characters are yet.Īnd that bluntness continues to apply once the plot shows up. Then come the credits, warmly scored with Elmer Bernstein's romantic title theme, and all seems well until the credits peter out and we're pitched into the teeming mass of bodies in a local musicians union in New York, with people desperately looking for work and people absently looking for musicians.
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The movie launches right into itself without any warm-up, opening with a loud scrape as a metal grate is rolled back from a door. That is the first thing it wants us to be aware of. The primary characteristic of Love with the Proper Stranger, in defiance of its handsomely poetic title, is that it is fucking blunt. A review requested by Nathaniel R, with thanks for contributing to the Second Quinquennial Antagony & Ecstasy ACS Fundraiser.