The American Spectator

? In addition to McQueen, it features the Porsche 917-series race cars, perhaps the greatest endurance racers of all time, with gorgeous, flowing lines, enormous brute power and an evil reputation (a later version would develop 1,500 peak and 1,100 continuous HP; the Le Mans variants were 600-700 or so if memory serves). Granted, it’s not so much a movie as it is a bunch of classic race-cars driving around the Sarthe — but it’s the real deal; not mock-ups or fakes (mostly), and the drivers are real, too. And of course McQueen is there, detached and cool as always, perhaps even more so than usual. br> — CDG /p> p> Bravo and dittos. Love With a Proper Stranger : an amazing B&W film (can you imagine “colorizing” this?) Deeply moving and winning performances. It’s been a favorite of mine for years and I am sorry to see it has been ignored. Thank you for giving it the attention it so richly deserves. br> — Pamela Hall /p> p> About 15-20 years ago I came across the box for LWPS in a video store. I was immediately perplexed. Why had I never heard of this movie before when Wood and McQueen were both BIG in 1964? It must have been a dud I concluded, and I started to move on, but my favorite casual female style is the black sleeveless turtleneck, and Natalie’s wearing one in the still on the cover (but does not in the film!). So I took it back to apartment and was floored. It was excellent. So perplexed was I that this movie was not well known that I went and looked up the NY Times review from 1964 on microfilm (positive) and looked at the ads to determine how widely it was distributed. As the message about abortion is ultimately ambiguous, it didn’t dawn on me that that might be why contemporary cognoscenti have squelched it, but your assessment makes sense. Remaining confused about the film’s obscurity, I rented it again two-three years ago, thinking that perhaps I had just overrated it in my youth on the first viewing. No, it was top notch. It was also notable for another reason. The films of 1961-67 depicted New York as glamorous (