STRANGERS WHEN WE MEET (1960)

Title: STRANGERS WHEN WE MEET

Year of Release: 1960

Director: Richard Quine

Genre: Drama, Romance

Synopsis: A love affair blossoms between a married architect, and his equally married neighbour.

Within a film history context: Films which specifically revolve around an adulterous husband were sporadically present in cinema before 1960. Largely due to the movie censorship of the times, these were discreet, muted depictions of adultery. One of the earliest examples was Glen Lyons' silent IS MONEY EVERYTHING? (1923). A married farmer goes to the city and becomes successful, but has an affair with a married woman, his life subsequently going off the rails. THE MATING CALL (1928), directed by James Cruze, had an adulterous man trying to frame a World War I veteran for murder in this silent movie. Into the sound era, William Dieterle's MAN WANTED (1932), featured a married magazine editor who falls for her handsome new secretary, but discovers that her husband has been unfaithful to her, this changing her view of marriage, and life. The first version of BACK STREET, directed by John Stahl, was released in 1932. An adaptation of Fannie Hurst's novel of a young woman who becomes the kept lover of a businessman, with tragedy striking, it was remade in 1941 by Robert Stevenson, and 1961 by David Miller. 

With CHRISTOPHER STRONG (1933), directed by Dorothy Arzner, a married British Member of Parliament has an affair with an aviatrix which leads to tragedy. A more humorous view of infidelity was present in Mark Sandrich's THE GAY DIVORCEE (1934). A woman who wants to divorce her husband discovers he has been playing the field behind her back in this delightful Fred Astaire-Ginger Rogers musical-comedy. Very subtle in its treatment of adultery, and an unfaithful husband, was THE WOMEN (1939), directed by George Cukor. A society woman decides to divorce her husband when he has an affair with a perfume counter assistant, but turns the tables on her ex-husband's new wife. Notable in that not a single male actor appeared in the movie, even the philandering husband, it is a classic of Hollywood cinema. 

Into the 1940s, Henry Levin's NIGHT EDITOR (1946), presented a married police lieutenant who had an amour on the side, with their witnessing of a murder causing both parties anguish in this film noir. A definitively comic side to male adultery was on show in MR. PEABODY AND THE MERMAID (1948), directed by Irving Pichel. A man is on vacation with his wife on a Caribbean Island, and one day when fishing catches a mermaid. The man and the mermaid carry on a love affair of sorts, but a number of misunderstandings occur whereby the man is suspected not only of having an extramarital affair, but also, murder. In total contrast, Irving Pichel's WITHOUT HONOR (1949), focused upon a married woman having an affair with a married man, who she accidentally kills one day. Her brother-in-law is aware of her infidelity, and threatens that he will tell her husband and others about her indiscretions. 

In THE BIG BLUFF (1955), directed by Lee Wilder, a scheming man wants to live it up with his lover, and marries a frail woman for her money in order to kill her, and claim her inheritance. Lewis Allen's ANOTHER TIME, ANOTHER PLACE (1958), set during World War II, had a married British reporter conduct an affair with a female journalist, this causing later friction with his wife after his death. A much more escapist view of male adultery was served by ATTACK OF THE 50 FOOT WOMAN (1958), directed by Nathan Juran. When an emotionally unstable woman grows to the height of fifty feet after an alien encounter, she seeks revenge on her unfaithful husband, and wreaks havoc on him, and his lover. Daniel Mann's HOT SPELL (1958), showcased a woman's disavowal of her husband's straying ways, but finally comes to terms with his dalliance with a much younger woman. STRANGERS WHEN WE MEET came on screen in 1960, and was one of the best movies about an adulterous husband.

With its focus upon a male adulterer, STRANGERS WHEN WE MEET was closer to the films with a realistic bent, such as IS MONEY EVERYTHING?, BACK STREET, CHRISTOPHER STRONG, ANOTHER TIME, ANOTHER PLACE, and HOT SPELL. There was a distinct lack of suspense elements in STRANGERS WHEN WE MEET which permeated NIGHT EDITOR, WITHOUT HONOR, and THE BIG BLUFF. The anticipation in STRANGERS WHEN WE MEET was largely based upon whether Larry's wife Eve would find out about his affair with Margaret, and what would become of their marriage if this occurred. The backdrop was more domestic than anything else, and closest in this respect to BACK STREET than the other pictures. Where STRANGERS WHEN WE MEET differed from BACK STREET is that the other woman was married with a child of her own, whereas Ray from BACK STREET was unmarried, and childless. This placed Larry and Margaret in STRANGERS WHEN WE MEET on an equal footing in terms of their marital, and family status. 

Further areas of STRANGERS WHEN WE MEET differed from the other films in the genre. Margaret did not suffer from being seen as a 'Scarlet Woman', as Ray in the BACK STREET pictures did. The clandestine nature of Larry and Margaret's affair, known by very few people, and Margaret's position as a married woman and mother, took away from her being envisioned in this way. In an associated way, by and large, STRANGERS WHEN WE MEET was lacking the tragedy which infused the BACK STREET films, but shared the aftermath of adultery on the adulterer's wife which was present in ANOTHER TIME, ANOTHER PLACE. Melodrama did not feature much at all in STRANGERS WHEN WE MEET, eschewing this for a concentration on the feelings of characters, in effect steering clear of a sordid atmosphere. One of the best movies about a male adulterer, STRANGERS WHEN WE MEET wins with its spare attention to detail.

Overview: Richard Quine was an American director who made thirty-one pictures over thirty-two years. Mr Quine was an all-rounder dealing mainly in comedy, romance, and drama. Richard Quine's first picture, LEATHER GLOVES (1948), co-directed with William Asher, followed a former boxer who tries to escape his past in the sport by moving to a new town, but again falls into the ring. Comedy SUNNY SIDE OF THE STREET (1951) was Richard Quine's second film. A light musical about the lives and loves at a television network, it was a showcase for singer Frankie Laine in the lead. After a number of comedies, musicals and dramas, Mr Quine made one of his first notable films, PUSHOVER (1954). The tale of a policeman's affair with a bank robber's moll, and their teaming to take advantage of the money from this operation, offered Kim Novak her first sizable role as the mystery woman.

Musical MY SISTER EILEEN (1955), was about the exploits of two sisters from Ohio transplanted to New York City, with much romance and frolics included for good measure. THE SOLID GOLD CADILLAC (1956), was the first of two Judy Holliday vehicles for Richard Quine. A woman shareholder of a company becomes involved in the wheeling and dealing taking place in this buoyant comedy. FULL OF LIFE (1956) again starred Judy Holliday, this time as a married woman whose proud husband does not wish to avail himself of his father's assistance for a home repair, being one of a number of marital issues in this comedy-drama. In BELL BOOK AND CANDLE (1958), a witch casts a spell on a man, which causes him to halt his marriage, and various other events, in this comedy. 

Into the 1960s came one of Richard Quine's most-recognized works, being THE WORLD OF SUZIE WONG (1960). The love affair of an American businessman cum artist, and a Chinese prostitute he hires as a model for his paintings, was a box office success for Paramount, and one of the biggest movies of the year. Comedy again infused THE NOTORIOUS LANDLADY (1962), this time with some mystery elements. An American diplomat in London falls for his landlady, who owns a townhouse, but becomes embroiled in her murderous escapades, which may, nor may not, be her responsibility. PARIS WHEN IT SIZZLES (1964), was yet another example of Richard Quine's comedy-romances. A writer has difficulty with his screenplay until meeting the woman who will type his manuscript, with amusing results. HOW TO MURDER YOUR WIFE (1965), was a darker comedy in comparison to his previous efforts. A cartoonist who is inebriated one evening marries a young woman, but fiction intrudes upon life in the most inappropriate way for him. 

SYNANON (1965), was a change of pace for the director. The difficulties of recovering addicts at a rehabilitation centre was the focus here, with a talented cast including Stella Stevens, Chuck Connors, Richard Conte, and Edmond O'Brien. Next came the all-star HOTEL (1967). The intrigues of a New Orleans grand hotel, with its glamorous hotel guests, was the content of this movie, which was a loss-maker in its time. OH DAD, POOR DAD, MAMMA'S HUNG YOU IN THE CLOSET AND I'M FEELIN' SO SAD (1967), was a venture into black comedy, and irreverence for Richard Quine. The antics of a strong mother, and her submissive son at a resort, carrying around her dead husband in a casket, starred Rosalind Russell as the mother, and Robert Morse as her beleaguered son. Into the 1970s and after, Richard Quine made five more pictures, but of lesser stature than his previous works.

Comedy western THE MOONSHINE WAR (1970), was about the shenanigans of a corrupt federal agent who wants a share of his friend's moonshine operation. Despite his best efforts, the agent comes up against unexpected obstacles which thwart his aspirations. A TALENT FOR LOVING (1973), was also a western with comic shading. An American gambler is awarded the deed to an expansive Mexican home, but finds that the abode is doomed as a curse has been placed on it. For the curse to end, the gambler must marry the owner's daughter, something which is not to his liking. Richard Quine next made a foray into thriller territory with W (1973). A couple are chilled when they discover that they are the target of a murderer who leaves the letter W over the bodies of his injured victims. Mr Quine's last movie, THE PRISONER OF ZENDA (1979), was a remake of the classic story, last filmed in 1952 with Deborah Kerr and Stewart Granger. It was not as warmly received as its predecessors, and did not recoup its production costs. STRANGERS WHEN WE MEET was Richard Quine's eighteenth film, and one of his best movies.

In the case of STRANGERS WHEN WE MEET, Richard Quine has made a beautiful, edifying film. Tackling the subject of adultery head on, specifically focusing upon a married architect, and his extramarital affair with the mother of his son's schoolmate, it is a compelling picture. The movie is this way for an important reason. The director introduces the audience to his characters, and ensures that one understands why they think and act the way they do. It is not a case of facile answers, or making people one-dimensional cardboard villains. One of the strengths of STRANGERS WHEN WE MEET is that it does not make it easy for the audience to take sides in what is happening; the viewer sees all sides of the argument both for, and against, adultery, and the aftermath on those it affects. The spectator watches it all unfold from the beginning of the affair, and after it ends. Mr Quine achieves this in the following way with the plot. 

Larry is becoming complacent with his life and marriage, and seeks out someone whom he believes comprehends from where he is coming. The object of his forbidden desire, Margaret, is feeling neglected by her husband, who is too busy to give her the attention she needs. Larry actively pursues Margaret, and at first she spurns his advances, but, eventually, gives in to him. In some ways, the movie could be said to glamorize adultery with its orientation towards showing Larry and Margaret's affair in a romantic mode, but, the way it is presented, this is not some cheap backroom fling. Both participants feel something for each other besides just sexually. Apart from this, STRANGERS WHEN WE MEET shows an awareness of the world, such as an incident which Margaret explains to Larry involving an unknown man, this providing a realistic background to the characters. Despite these pluses there are some omissions, though, which would have made the film stronger.

The movie has an intense focus particularly on Larry and Margaret, with Larry's wife Eve also prominent. This does work, and carries the film in its best moments. Margaret's husband Ken, though, is a more shadowy figure. While he rejects his wife's amorous advances early in the picture, and is hardly seen throughout the remainder, not delving into why he treats Margaret as he does is a letdown. This would have provided the movie more balance, and given Ken an equal role to Eve as the unknowing spouse. Another role that should have been larger is that of Betty Anders, Felix's wife. The wily Felix imposes himself upon Larry, and Larry's affair with Margaret, and shows an attraction to Eve. Felix's wife, as with Ken, also has an ill-defined purpose. This would have better explained Felix's interest in Larry and Eve's marriage, but, is left to the imagination. Putting these flaws to the one side, something emerges about the movie which cannot be denied. STRANGERS WHEN WE MEET is a sturdy picture which deserves credit for examining adultery in a careful, measured way.

Acting: The performances in STRANGERS WHEN WE MEET make it a solid film experience. Architect Larry Roe is another of Kirk Douglas' great portrayals. An actor with an engaging manner, and incisive approach to his roles, he makes the philandering husband someone who it is difficult to dislike, despite being unfaithful to his devoted wife. As Margaret, the object of Larry's affections, Kim Novak is in her best performance. Too often downgraded for her acting skills, she is the heart and soul of the film. Her understated reactions, and use of her eyes are used to maximum effect here. Larry's spouse Eve is made memorable by Barbara Rush. The role of the wife could have been a thankless, one note part, but Miss Rush imbues her role with a sensitivity, and nous, that make Eve a force to be reckoned with in STRANGERS WHEN WE MEET. Three other actors do great work in the picture.

Larry's client, and friend, novelist Roger, is given humor and earthiness by Ernie Kovacs. An actor who passed away too soon, but before leaving several great roles in his filmography, adds a note of reality to the proceedings. As Mrs Wagner, Margaret's mother, Virginia Bruce provided a touch of Classic Hollywood in her role. Functioning as Margaret's confidante and mother, Miss Bruce urges her daughter to seek happiness, and is a classy, yet soulful figure in the picture. The last great performance is by Walter Matthau as Felix, Larry and Eve's neighbour. With his ingratiating manner, and ability to push the envelope, and people's buttons, Mr Matthau lends his fast talking, unique persona to STRANGERS WHEN WE MEET.

Soundtrack: STRANGERS WHEN WE MEET has a sweeping instrumental score, composed by George Duning, which is employed throughout the movie. It adds tension at just the right moments, be it dramatic, quiet, or humorous. A version with vocals is played at the conclusion, with lyrics by director Richard Quine, that nicely delineates the bittersweet feel that infuses STRANGERS WHEN WE MEET as a whole.

Mise-en-scene: It cannot be doubted that STRANGERS WHEN WE MEET is lushly produced, and this attention to production values is one of its triumphs. Charles Lang photographs the events transpiring on screen with grace in Eastmancolor, the color reflecting the movie's muted, thoughtful tone. Art direction by Ross Bellah is also excellent, creating a beguiling story world for the viewer. Attractive scenes of suburban life, with other exteriors such as the fair, and the beach locations, are the film's forte. Louis Diage's set decoration is also pivotal to the success of STRANGERS WHEN WE MEET. The pleasant, well-appointed Coe and Gault family homes speak of their socioeconomic position, and other sets such as the beachside cafe where Larry and Margaret meet, are all stellar. Costume design by Jean Louis allows all characters to cut dashing figures in the movie, with Kim Novak and Barbara Rush elegantly gowned, with Kirk Douglas also sartorially savvy as the well-dressed, straying architect.

Notable Acting Performances: Kirk Douglas, Kim Novak, Batbara Rush, Ernie Kovacs, Virginia Bruce, Walter Matthau.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

Trailer