7.5/10
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Love with the Proper Stranger (1963)

Angie Rossini is an innocent Italian Catholic Macy's salesgirl, who discovers she's pregnant from a fling with Rocky, a musician. Angie finds Rocky (who doesn't remember her at first) to ... See full summary »

Director:

Robert Mulligan

Writer:

Arnold Schulman
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Nominated for 5 Oscars. Another 1 win & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
Natalie Wood ... Angie Rossini
Steve McQueen ... Rocky Papasano
Edie Adams ... Barbie
Herschel Bernardi ... Dominick Rossini
Anne Hegira Anne Hegira ... Beetie
Harvey Lembeck ... Julio Rossini
Mario Badolati Mario Badolati ... Elio Papasano
Penny Santon Penny Santon ... Mama Rossini
Elena Karam Elena Karam ... The Woman
Virginia Vincent ... Anna
Nina Varela ... Mrs. Columbo
E. Nick Alexander E. Nick Alexander ... Guido Rossini
Marilyn Chris ... Gina
Augusta Ciolli Augusta Ciolli ... Mrs. Papasano
Wolfe Barzell ... The Priest
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Storyline

Angie Rossini is an innocent Italian Catholic Macy's salesgirl, who discovers she's pregnant from a fling with Rocky, a musician. Angie finds Rocky (who doesn't remember her at first) to tell him she's pregnant and needs a doctor for an abortion. He finds her a doctor and they work together to raise the money. Can these two strangers find love with one another before it's too late? Written by Kelly

Plot Summary | Add Synopsis

Taglines:

For every girl who ever fell for the kind of the guy who doesn't want to get married... See more »

Genres:

Comedy | Drama | Romance

Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

25 December 1963 (USA) See more »

Also Known As:

Desliz de una noche See more »

Filming Locations:

New York City, New York, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Unclear whether this is a bizarre coincidence or inside joke, but when the character played by Natalie Wood is taking a taxi home from the abortionist, it passes a large billboard mentioning New York Mayor Robert Wagner. Robert Wagner, of course, was also the name of Wood's former (and future) husband Robert Wagner. See more »

Goofs

At the musicians' meeting, Joe (the music venue booker) wears glasses in the long shot. His glasses come on and off in the close up when he talks with Rocky. See more »

Quotes

Angie Rossini: Would you like a drink?
Rocky Papasano: Thank you
Angie Rossini: Scotch
Rocky Papasano: Thank you
Angie Rossini: [pouring scotch] Water, Soda or Tonic?
Rocky Papasano: [a bit confused] Scotch and Tonic? uh... very good...
[takes the glass from her]
Rocky Papasano: Zelda, Gin and Tonic, yes. Vodka and Tonic, yes. Scotch and Tonic, no.
Angie Rossini: [confused] uh...
Rocky Papasano: water.
See more »

Connections

Featured in Reel Radicals: The Sixties Revolution in Film (2002) See more »

Soundtracks

Love with the proper stranger
by Johnny Mercer and Elmer Bernstein
Sings: Jack Jones
See more »

Frequently Asked Questions

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User Reviews

 
LOVE WITH THE PROPER STRANGER (Robert Mulligan, 1963) ***1/2
1 April 2009 | by Bunuel1976See all my reviews

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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