Supelice Dreadfully Boring

Sexyloutak Absolutely the worst movie.

Hulkeasexo it is the rare 'crazy' movie that actually has something to say.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

cands78 Fantastic. Well-paced yet masterfully exhilarating combination of drama, comedy, romance, and suspense in a way I've not experienced before. The character actors carry the film and inspire the notable stars to superior performances. The cynic in me assumes the films' lack of distribution in today's market is due to abortion being a topic adults decide on instead of right-wing politicians. (I'm willing to listen to arguments to the contrary.) Brilliant.Sorry for the rest of this but my submission must "contain enough lines - the minimum length for reviews is 10 lines of text."I said in seven lines what I wanted to say.

tieman64 "The times, they are a'changin'." – Bob Dylan Arguably director Robert Mulligan's best film, "Love With The Proper Stranger" is a charming romantic movie about a carefree jazz musician (played by the charismatic Steve McQueen) who has a brief romantic affair with a shop-girl (played by the cute Natalie Wood) and inadvertently gets her pregnant. Rather than face her strict Italian-American family, Steve and Natalie decide to find a back street abortionist, but chicken out once the weight of what they intend to do hits them. Steve, a progressive type who sees no reason to get married, let alone limit himself to one woman, and Natalie, who sees no reason to stay with a man who doesn't adhere to her romantic and fantastical notions of true love, then part ways and go on with their lives. Of course, over the film's final hour they are slowly drawn back together and fall in love.The film's low key direction, excellent performances and lively location shooting in New York's Little Italy are top notch, but what makes the film interesting is the way it captures a mood shift in the US. This was an era of second wave feminism, contraceptives, women's liberation movements, free sex and abortion. As such, this film is filled with young people turning their backs on customs, values and family/religious codes and nervously testing the waters of the sexual revolution. By the film's end, pre WW2 romantic values and the liberative force of the 1960s, as well as issues of social norms, family obligations and personal independence, have all been reconciled. Cue the obligatory happy ending.The film was deemed sensational and risqué back in the 60s, but is pretty much status quo today. On the plus side, the film's aesthetic, which mixes fairy tale notions of romance with gritty black and white cinematography and grungy cinema verite techniques, is still pretty unique. In the following decades, cinematic feminism would take the form of "bionic women", "action heroines", chicks with "buns of steel" and leotard wearing ladies with cellulite busting super powers. Two steps forward, one step back.8.5/10 – Worth one viewing. Part of a wave of 60's gender cinema ("The Prime of Miss Jean Brodie", "Shampoo" etc etc)

norakecer Wonderful ! A movie which, via a striking realism and burning issues (abortion) approached frontally, regenerates the charming power of the best Hollywood cinema, power reduced by the end of the golden age of Hollywood studios. Indeed, the movie starts as an intimist drama before ending as a romantic comedy without that ever the spectator perceives the transition. It is because some "clichés" are themselves dramatic impulses since "love with a proper stranger" may be summarized as the confrontation between love as the ideal formated by fairy tales and Hollywood, and love as generally binding social reality (marriage). The movie is no more and no less only the story of a young independent woman (some would say a "modern" woman) which is going to try to find its way between the weight of the family traditions and her teenager's images which she knows outmoded but which she cannot get out of her head. Robert Mulligan's style is perfectly appropriate and it is a bit raw and optimistic; it is a perfect synthesis between experience of the new waves (filming in the street, the audacious ellipses which revitalize the story, the mature representation of the sexuality) and clichés used aptly (the sequence in the cab :very Hollywoodian ). Thanks to this inspired composition, the film-maker succeeds to create miracles – such as, the loving feeling rising within both characters in the central sequence of the film,. Furthermore, the Elmer Bernstein's slowly lyric music matches smoothly with the Mulligan's frames of the movie. Finally, it would be improper to finish this chronic without speaking about both leading actors.Steve McQueen is surprising in this cast against type of a man overtaken by events.He is at his best, a bit boyish and so handsome and charming. Natalie Wood is just radiant. As I hope to have convinced you of it, the movie is excellent, but Natalie is so beautiful there – The performances of both actors justify an attentive look on this film inequitably underestimated and little-known.

copper1963 Heartachingly stunning in this gritty urban tale of despair and regret, Natalie Wood, as usual, acts up a tsunami. With her big brown eyes beaming and searching for the gentleman who knocked her up, she ventures into a large, packed-in-like-sardines, union hall. She finds him there. It's none other than Steve McQueen. He's a musician. She informs him that she is "going to have a baby." Shame. Shame. Blunt girl. He doesn't recall their tryst. Shame again. The dumbfounded look on McQueen's mug is priceless. She marches out into a bright sunshine. He follows. She whirls around and tells him that his responsibility ends at finding her a doctor--and it's not a obstetrician. It is 1963 (the year I was born) and she, that is, they, are in a world of trouble. A nice, unmarried Italian girl, you see, should never find herself in such a pickle. Never. They pool their resources together. They come up with the cabbage--400 smackers--but are then told by a very abrupt fellow that they need another fifty. They pay his parents a visit at a boccie ball court, somewhere near the East River. The noise from the FDR Drive is deafening. He secures the needed funds and they beat a hasty retreat when Wood's brothers catch wind of their affairs and chase them from the playground and into a building he is familiar with. They lay low for a while. This section of the film shows us that they have wonderful screen chemistry together. They listen to some music on the radio. They drink a little red wine. And they begin to fall in love--they just don't realize it yet. Whew! No more plot for now. I love the director's use of natural light and sounds, especially with the scene over at the boccie court. You hear every single vehicle that lumbers by. Nothing was re-dubbed later. The two leads are perfectly cast in this romantic fable. I know I should cover the starkly grim "abortion scene." But why ruin a beautiful picture with a dose of unneeded ugliness. Did I mention that Natalie was sweet? Heartachingly so.