STRANGERS WHEN WE MEET

Kim Novak and Kirk Douglas

STRANGERS WHEN WE MEET (1960.) Director: Richard Quine. Screenplay by Evan Hunter, based on his novel of the same name.

"Outraged innocence is always a good gambit, but the amateur always overplays it." -- Felix.

Larry Coe (Kirk Douglas) is an award-winning architect who is always hoping he'll be given the opportunity to fulfill his potential as an artist. Although he is happily married to Eve (Barbara Rush), and has two little boys, he is galvanized by the sight of a beautiful neighbor, Maggie (Kim Novak), who also has a husband (John Bryant) and young son, and is instantly attracted. Initially resistant, Maggie is eventually won over by the persistent and narcissistic -- and presumptuous -- Larry and the two begin an affair even as Larry designs a house for author Roger Altar (Ernie Kovacs). Maggie seems to be content with the way things are, but Larry isn't so certain, especially when he's offered a job that will take him and his family to Hawaii for five years.

On the beach: Kim Novak and Kirk Douglas

Although the plot goes in a very different direction, you're immediately reminded of Fatal Attraction, because in this movie Douglas basically plays a self-serving pig just as his son does in the later film. Larry seems to give absolutely no thought to his wife and children and is only concerned with his own gratification. Maggie at least has some excuse -- her husband is under-sexed, possibly even asexual, and she is neglected in the bedroom. That this is a sexual affair is made very clear, but that this is supposedly a romantic relationship is not as certain -- sexual obsession maybe -- despite the film's attempt to turn this into some kind of Brief Encounter, which it certainly isn't.

Larry (Douglas) is confronted by Felix (Matthau)

The acting and direction helps a lot. Aside from some moments when she is overly affected, Kim Novak gives a solid performance, proving that she had become quite accomplished in the right role and with a sympathetic director. However, she is so beautiful, such an obvious sex object (which may not have been the case in the novel) that it unbalances the story -- Larry just seems like a horny jerk after a hot babe. Douglas is excellent, but one senses he doesn't plumb Larry's guilt or vulnerability because he doesn't see Larry as doing anything wrong! Barbara Rush puts the viewer on Eve's side, and it's a little sickening when Eve starts blaming herself for her husband's affair. Another actor who really scores is Walter Matthau, playing Felix, a jealous neighbor and alleged friend of Larry's who confronts him about the affair and then makes a repellent play for Eve in a very tense and disquieting sequence. In her last screen role Virginia Bruce makes an impression as Maggie's mother; an interesting character whose back story is only hinted at. Ernie Kovacs is okay as the author who wants Larry to design his dream house, but his part is pretty unnecessary to the story. John Bryant does the best he can do with a thankless role. Betsy Jones-Moreland [Last Woman on Earth] and Paul Picerni play party guests.

Kirk Douglas and Barbara Rush

Then there's the subject of rape. Maggie tells Larry about how she flirted with a man who insisted on coming over to the house when her husband was out, and forced himself upon her after she had taken a sleeping pill. Larry accuses Maggie of wanting to sleep with the man, which is why she supposedly didn't lock the door before retiring. Whatever the case, the whole business of sexual assault is glossed over as if she were talking about somebody making a mere pass.

Verdict: Rather depressing look at martial infidelity with a rather unlikable protagonist. **1/4. 

LAST WOMAN ON EARTH

Robert Towne and Betsy Jones-Moreland

LAST WOMAN ON EARTH (1960). Director: Roger Corman.

Dubious businessman Harold Gern (Antony Carbone), his wife Evelyn (Betsy Jones-Moreland), and his lawyer Martin Joyce (Robert Towne, billed as Edward Wain) are out scuba diving off Puerto Rico when an unspecified disaster occurs that sucks oxygen out of the air and apparently kills everyone in the area -- possibly the whole world. Most sensible people would spend their time trying to find out how widespread the disaster was and if there were other survivors, but instead this trio simply gets embroiled in a rather dull domestic triangle, with Martin thinking it's perfectly okay for him to make time with Evelyn because with the supposed end of the world, the rules have changed. Huh? The pretentious and morally confused script was also written by Towne, who went on to greater fame as a screenwriter of such films as Shampoo and Chinatown. The characters aren't fully fleshed out, going through the motions as the script demands, and the actors are left with not much to work with. Unconventionally handsome, and not a bad actor, sensitive Towne could have had more of an acting career, but it wasn't in the cards. None of the actors gets across the enormity of what has occurred, but just seem to be reacting to say, infidelity on a Club Med vacation. Roger Corman's direction is typically adroit and the picture is fast-paced. But it just adds up to nothing. This was obviously influenced by the slightly superior Five, as well as The World, The Flesh, and the Devil. Ronald Stein's score helps a bit, but this could have used a few monsters. There's some talk about the unchecked growth of the insect population but nothing comes of this.

Verdict: Time-waster with an intriguing if unoriginal notion and little else. **.