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Strangers When We Meet

Strangers When We Meet

Romance · Drama · 1960

A suburban architect loves his wife but is bored with his marriage and with his work, so he takes up with the neglected, married beauty who lives down the street.

Movie details

Strangers When We Meet

“"I LOVE YOU BABY, BUT MY WIFE JUST REFUSES TO UNDERSTAND!"”

1960 Romance · Drama 1h 57m

Critical arithmetic

The consensus, allegedly.

IMDb

7.1 / 10

2.7K votes

TMDB

6.4 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

A suburban architect loves his wife but is bored with his marriage and with his work, so he takes up with the neglected, married beauty who lives down the street.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Strangers When We Meet?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

Watch in your region.

Cinema release signals and current streaming, rental, and purchase options for your region.

Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Richard Quine

Written by

Evan Hunter

Kirk Douglas

Kirk Douglas

Larry Coe

Kim Novak

Kim Novak

Margaret 'Maggie' Gault

Barbara Rush

Barbara Rush

Eve Coe

Ernie Kovacs

Ernie Kovacs

Roger Altar

Walter Matthau

Walter Matthau

Felix Anders

Virginia Bruce

Virginia Bruce

Mrs. Wagner

John Bryant

John Bryant

Ken Gault

Court is in session

Put Strangers When We Meet on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.