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).

Love With A Proper Stranger casts Steve McQueen and Natalie Wood as two Italian-Americans from New York City who have a casual affair and a permanent reminder of same. How the unmarrieds go about dealing with the unplanned bundle of joy is the rest of the film.

You'd not think that either of the leads, especially McQueen, could be convincing as ethnic types, but I was surprised at how good McQueen was in the part. As for Wood she got an Oscar nomination for Best Actress, but lost that year to Patricia Neal for Hud.

Wood's a nice girl from a strict Italian Catholic family with three brothers eager to protect the family name and the sister's honor. McQueen's a rather footloose magician who enjoys the life of a rogue and the occasional company of steady girl friend Edie Adams.

Abortion was not an option in those days before Roe vs. Wade. It wasn't even legal in New York State as in most at the time. Nelson Rockefeller as governor personally led the fight for repeal of the anti- abortion law in New York. In those days, the Protestant evangelicals had not embraced the right to life movement yet. The main opposition was from urban Catholic Democrats. A girl in trouble like Wood had no choice but the back alley abortionist and the risks that entailed.

One of the most powerful scenes in the film is McQueen stopping the procedure from happening and getting Wood out of the empty tenement apartment before it's performed. The issue then as it is now, a woman's right to choose and it is clear that Natalie Wood if she does choose to give birth it will be her choice and not in response to family or cultural pressure.

Of course she does choose to have the kid and the film ends with McQueen making a real effort to hitch the cart to the horse, the cart he put in front before. What will happen is in the viewer's interpretation.

One of the things I found so ironic is the duplication of performances when we meet both McQueen's and Wood's respective families. They could have switched parents and no one would have noticed. Herschel Bernardi is the best as Wood's father. And there's a nice performance by Frank Marth as the sleazy fixer of abortions.

Will Natalie and Steve ever hear those bells and banjos that are supposed to accompany true love? It's anyone's guess.

Angela Rossini (Natalie Wood) works at Macy's and comes from a traditional Catholic family. He tracks down musician Rocky Papasano (Steve McQueen) and tells him that she's pregnant. He doesn't remember her and their one-night stand. She needs money for a doctor.

The family dynamic is devastating. That dinner scene is brutal because they love each other so much. This movie has a real edge although I don't think anybody actually says the word abortion out loud. The pregnancy leaves a heavy tone on everything. I would like a section with lighter moments between Wood and McQueen. That would allow them to build up their chemistry in a more organic way. The first scenes with her family is enough to elevate this movie to a great level. This got multiple Oscar nominations including one for Natalie Wood.