Prior to start working on Love with the Proper Stranger, McQueen filmed the World War II epic The Great Escape (1963), the film he is most associated with.Ī pparentl y, McQueen "read the script overnight and committed the next morning. His breakthrough role in the film industry came in The Magnificent Seven (1960), a western directed by John Sturgess, co-starring Yul Brynner and Eli Wallach. Later that year, he moved to California and found work in several television series, achieving widespread recognition playing the lead role in CBS's Wanted: Dead or Alive (1958-1961). In 1955, he was one of only five of some 2000 auditionees to gain admittance to the prestigious Actors Studio, known for its "Method" approach to acting. A former Marine, McQueen began learning his craft at New York's Neighborhood Playhouse in 1951, before moving to the Uta Hagen-Herbert Berghof Dramatic School. The part was then offered to Steve McQueen, whom Mullig an had dire cted in a two-part tel evision drama entitled "The Defender," produce d in 1957 for Studio One. The film recei ved critical and commer cial acclaim, winning three Oscars out of the eight for w hi ch it was nominated.įor the role of Rocky Papasano, Mulligan initially approached Paul Newman, who eventually turned it down in favor of the male lead in Martin Ritt's Hud (1963). Mulligan and Pakula's second collaboration was To Kill a Mock ingbird (1962), a screen adap tation of Harper Lee's 1960 best -s elling novel of the same nam e, starring Gregory Peck.
Pakula, a pr oducer (and fu ture Academy Award-nominated director and screenwriter) who had gained a foothold in the industry with an assistant job at Warner Br os.' cartoon department in 1949. His feature directing debut was made with th e baseball biopic Fear Strikes Out (1957 ), the first of seven picture s he would helm alon gside Alan J.
Love with a perfect stranger movie series#
Emp loyed by the CBS network, he worked on some of the most successful anthology series of the 1950s, including Studio One (1948-1958), Playhouse 90 (1956-1960) and Du Pont Show of the Mo nth (1957-1961). Marine Corps, Mulligan obtained work in the editorial departm ent of The New Y ork Times, but soo n left to purs ue a career in the emer gent medi um of television. The son of a Bronx policeman, Robert Mulligan was prevented from becoming a pri est by the outbreak of W orld War II.
The next day, however, Rocky wins her over by ringing bells and playing the banjo near the Macy's employees' entrance, carryinga sign reading: "Better Wed than Dead." She says she does not want to make the same mistake again, they quarrel and she throws him out. Before the meal, Rocky makes advances on her and is reject ed.
By acting distant, Angie at t racts Rocky, whom she invites to dinner at her new apartment. Af ter meeting Dominick and Julio, now a ware of their sister's condition, Rocky offers to marry Angie, but she declines, saying that she wants a love relationship and a wedding with "bells and banjos." Angie moves out of the f a mily home and rec on siders Anthony's proposal, for he has let it be known that she is expecting his child. However, when it turns out that the abortionist is not qualified, Rock y refuses to let Angie go through wit h the dan gerous procedure. Eventually, Rocky manages to raise the necessary money to pay for the abortion, then looks up Angie at wor king p lace and takes her to meet his unsuspecting parents ( Mario Badolat i and Augusta Ciolli), who immediately like her.
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