![]() 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. ![]() 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.
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