Contents.Plot Oliver Barrett IV, the heir of an American upper-class family, is attending where he plays. He meets Jennifer 'Jenny' Cavilleri, a quick-witted, working-class student of classical music; they quickly fall in love despite their differences.When Jenny reveals her plans to study in Paris, Oliver is upset that he does not figure in those plans.
He proposes, she accepts, and they travel to the Barrett mansion so that she can meet Oliver's parents, who are judgmental and unimpressed with her. Later Oliver's father tells him that he will cut him off financially if he marries Jenny. After graduation Oliver and Jenny marry nonetheless.Without his father's financial support, the couple struggle to pay Oliver's way through; Jenny works as a teacher.
Oliver graduates third in his class and takes a position at a respectable New York City. They are ready to start a family, but fail to conceive. After many tests Oliver is told that Jenny is terminally ill.Oliver attempts to live a 'normal life' without telling Jenny of her condition, but she finds out after confronting her doctor. Oliver buys tickets to Paris, but she declines to go, wanting only to spend time with him. To pay for Jenny's cancer therapy, Oliver seeks money from his estranged father, who asks him if he has 'gotten a girl in trouble.' Oliver simply says yes, and his father writes a cheque.From her hospital bed, Jenny makes funeral arrangements with her father, then asks for Oliver. She tells him to not blame himself, insisting that he never held her back from music and it was worth it for the love they shared.
Jenny's last wish is made when she asks him to embrace her tightly before she dies. As a grief-stricken Oliver leaves the hospital, he sees his father outside, having rushed to New York City from Massachusetts as soon as he heard the news about Jenny and wanting to offer his help. Oliver tells him, 'Jenny's dead,' and his father says 'I'm sorry,' to which Oliver responds, 'Love– ', something that Jenny had said to him earlier. Oliver walks back alone to the outdoor ice rink, where Jenny had watched him skate the day she was hospitalized.Cast. as Jennifer 'Jenny' Cavilleri. as Oliver Barrett IV.
as Phil Cavilleri. as Oliver Barrett III.
as Dean Thompson. as Mrs. Barrett. as Dr. Shapely.
Robert Modica as Dr. Addison.
Walker Daniels as Ray Stratton. as Hank Simpson.
John Merensky as Steve. Andrew Duncan as Reverend BlaufeltProduction originally wrote the screenplay and sold it to. While the film was being produced, Paramount wanted Segal to write a novel based on it, to be published on to help pre-publicize the release of the film. When the novel came out, it became a bestseller on its own in advance of the film.The original director was.
He backed out and was replaced. Harvey dropped out and was replaced by Arthur Hiller. Wrote a score for the film that was not used.The lead role was turned down by,.
Ryan O'Neal was given the lead role on the recommendation of Erich Segal, who had worked with the actor on; he was paid $25,000.The main song in the film, ' was a major success, particularly the vocal rendition recorded by.Reception Overall, Love Story has received generally positive reviews. Retrospectively collected reviews from 25 critics and gave the film a score of 68% 'Fresh'.gave the film four out of four stars and called it 'infinitely better than the book,' adding, 'because Hiller makes the lovers into individuals, of course we're moved by the film's conclusion. Of the was also positive, writing that although 'the plot-line has been honored many times. It's the telling that matters: the surfaces and the textures and the charm of the actors. And it is hard to see how these quantities could have been significantly improved upon in 'Love Story.' ', however, felt the film was contrived and film critic called Love Story ' with bullshit.'
Of wrote, 'I can't remember any movie of such comparable high-style kitsch since Leo McCarey's ' (1939) and his 1957 remake, '.' The only really depressing thing about 'Love Story' is the thought of all the terrible imitations that will inevitably follow it.' Gave the film two stars out of four and wrote that 'whereas the novel has a built-in excuse for being spare (it is told strictly as the boy's reminiscence), the film does not. Seeing the characters in the movie. Makes us want to know something about them. We get precious little, and love by fiat doesn't work well in film.'
Gary Arnold of wrote, 'I found this one of the most thoroughly resistible sentimental movies I've ever seen. There is scarcely a character or situation or line in the story that rings true, that suggests real simplicity or generosity of feeling, a sentiment or emotion honestly experienced and expressed.'
Writer wrote in, his book of collected criticism, that it was 'shit.' The film was an instant box office smash. It is among the, grossing $106,397,186.
It grossed an additional $30 million in international film markets. At the time of release, it was the 6th highest-grossing film of all time in U.S and Canada gross only. Adjusted for inflation, the film remains one of the top 40 domestic grosses of all time.The film was first broadcast on television on October 1, 1972 and became the most watched film on television surpassing with a of 42.3 and an audience share of 62%.
The rating was equalled the following year by and then surpassed in 1976 by.The film is scored number nine on the list, which recognizes the top 100 love stories in. The film also spawned a trove of imitations, parodies, and homages in countless films, having re-energized on the silver screen as well as helping to set the template for the modern '.The, a student association, has sponsored showings of Love Story during to each incoming class of freshmen since the late 1970s. During the showings, society members and other 'maudlin, old-fashioned and just plain schlocky' moments to humorously build. Soundtrack The soundtrack from the film was released separately as an album, and distributed by Quality Records.All tracks are written by, except where noted. Snow Frolic'2:583.' I Love You, Phil'2:045.' The Christmas Trees'2:486.'
Search for Jenny' (Theme From Love Story)3:047.' Bozo Barrett' (Theme From Love Story)2:438.' Skating In Central Park' 3:049.' The Long Walk Home'1:3010.' January 20, 1971. Retrieved February 12, 2016. Retrieved January 29, 2012.
^. Box Office Mojo. Retrieved June 25, 2012. Lee, Grant (August 28, 1977). 'Ryan O'Neal: A Love-Hate Story'.
Los Angeles Times. P. q1. Haber, Joyce (December 6, 1970). 'Ryan O'Neal Has Plenty of Stories'. Los Angeles Times. Retrieved December 16, 2018.
^ (January 1, 1970). Retrieved December 23, 2007. Italic or bold markup not allowed in: publisher=. Champlin, Charles (December 20, 1970). 'Love Story' Tells It Like It Always Was'. 29. Griffin, Robert; Garvey, Michael (2003).
Lanham, Maryland: Rowman & Littlefield. Retrieved December 27, 2009.
Italic or bold markup not allowed in: publisher=. ^ Canby, Vincent (December 18, 1970).' 44. Siskel, Gene (December 27, 1970). 'Love Story' a Return to Tearful Melodrama'. Section 5, p.
2. Arnold, Gary (December 26, 1970). 'Love Story'. B1.
Champlin, Charles (January 1, 1971). 'The Lesson of 'Love Story'. 1. ^ 'Hit Movies on U.S. TV Since 1961'. January 24, 1990. P. 160.
Vinciguerra, Thomas. ' The New York Times, 20 August 2010. Ritchie York (June 26, 1971). Nielsen Business Media, Inc. Pp. 47–. (PDF).
(PDF). Siegel, Larry (October 1971). 'Lover's Story'. September 12, 1994.
Retrieved December 16, 2018. Roger Ebert. Ebert Digital. Retrieved March 11, 2014. Italic or bold markup not allowed in: publisher=. IMDB.
Retrieved August 22, 2017. Gerson, Jen (January 23, 2015). Retrieved May 12, 2019.External links Wikiquote has quotations related to:. on. at the. at.
Campus Love Story Tuguegarao Live Streaming
(fan summary).
Movies that reach the romantic pantheon often have more at stake than a trip to the altar and don’t always end up happily. Some invoke the archetypes of myth and fairy tale, diving into the deeper imaginative realms of high Romanticism, a movement enamored of mystery and nature untamed. Others are modeled on the literary “romance,” a centuries-old genre of narrative fiction that combines adventure, idealism, and courtly love, as exemplified by King Arthur and his Round Table. These tales frequently take place on a journey where desire is set against duty, and where love alters destiny.
The mortal dislocations of World War II—our “Good War”—are formidably represented in the realm of the romantic. Casablanca, for example, sees patriotism prevailing over the love of one person. The English Patient sees the reverse.At the same time, high-flying ideals can become straitjackets or self-sabotage. Alfred Hitchcock’s Notorious keys into a dark vein of lyricism, a place where self-sacrifice becomes voluptuous and ill. One thinks of William Blake’s iconic line, which sounds the bass note of Romantic poetry, “O Rose thou art sick.” That said, it is lyricism in all its textures—dark, light, aural, visual—that lifts these films to higher ground.
Rodgers and Hart, in their song “Isn’t It Romantic?,” describe the feeling as “music in the night, a dream that can be heard moving shadows write the oldest magic word.” Those moving shadows are movies. Heath Ledger and Jake Gyllenhaal in Brokeback Mountain., © Focus Features/Photofest. CARMEN JONES 1954“You go for me and I’m taboo. But if you’re hard to get I go for you.” That’s the motto of Carmen Jones, a red rose inside a red flame. One of the most successful updates of an opera, this artful film, conceived and directed by Otto Preminger, is not a conventional musical but more a drama with music. The melodies are from Georges Bizet’s Carmen of 1875, the words are by Oscar Hammerstein II, the time and place is North Carolina during W.W.
II, and the cast is black, with a bewitching Dorothy Dandridge as Jones and Harry Belafonte as the love-obsessed Joe. This is romance as danger, as doom, a fate writ large in Carmen’s delicious wardrobe (designed by Mary Ann Nyberg). That sinuous coral dress with the slashes over the heart says it all. Dandridge was nominated for the Academy Award for best actress, a first for an African-American woman. CASABLANCA 1942Where to begin? There’s the great cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Sydney Greenstreet, Peter Lorre. And the great moment: nervous, nervy locals silencing Nazi officers with a passionate rendition of “La Marseillaise.” And the great song: Dooley Wilson singing Herman Hupfeld’s “As Time Goes By.” There are the immortal lines: “Here’s looking at you, kid,” and “Of all the gin joints in all the towns in all the world she walks into mine,” and “We’ll always have Paris.” And the swift, punch-the-studio-time-clock transcendence of director Michael Curtiz.
And the shocks of North African sun, of searchlights and moonlight in the night, courtesy of cinematographer Arthur Edeson. And there’s the last scene, blanketed in gray-velvet fog, in which a skein of glances looms the most powerful triangle in cinematic history.
But more than that: love-war-duty. THE ENGLISH PATIENT 1996World War II again. Zinc bars, cartography in Cairo, the glorious English, and love blossoming like a succulent in strange, dry places. The desert, the plane, the scarf, the cave, Ralph Fiennes in profile, and Kristin Scott Thomas stepping out of her bath—afternoon tea and the Wagnerian “Liebestod” of it all. Anthony Minghella’s movie, based on Michael Ondaatje’s stunningly voluptuous novel, works on the scale of grand opera. Little lives, historic upheaval, gargantuan passions. Tears, more tears, and we all die alone.
Ralph Fiennes and Kristin Scott Thomas in The English Patient., By Phil Bray/Tiger Moth/Miramax/The Kobal Collection. GHOST 1990Commerce between the living and the dead is the stuff of ghost stories, but when that commerce is love we move into the realm of Orpheus. This genre—the supernatural romantic fantasy—contains masterpieces: 1947’s dashing and dansant The Ghost and Mrs. Muir and the 1956 screen adaptation of Rodgers and Hammerstein’s Carousel. Jerry Zucker’s Ghost is not a masterpiece, but it has an aching lyricism unique in contemporary film.
Demi Moore, tremulous in a pixie cut, is at her loveliest. And the late Patrick Swayze is a concentrated presence, one of those actors the audience just feels for. He was perfectly cast in the kinetic coming-of-age romance Dirty Dancing, and he’s perfectly cast here, as the ardent ghost with unfinished business. HOLIDAY 1938While The Philadelphia Story (1940) enjoys most-favored status, its slightly older cousin, Holiday, which also stars Katharine Hepburn and Cary Grant, is a deeper, more poignant study of human nature. Derived from a play by Philip Barry (again like The Philadelphia Story), Holiday is The Age of Innocence in reverse. Grant is freethinking Johnny Case, a self-made success who wrestles with whether or not he should marry into stiff, snooty society. Doris Nolan’s Julia Seton is a strong temptation.
But her older sister, Linda, more insecure and vulnerable—played with fire by Hepburn—is the soul match. She’d follow Johnny anywhere (as would we), but will he see that she’s the one? I KNOW WHERE I’M GOING!
1945The film critic Pauline Kael loved this Powell and Pressburger gem, and today it is a cult among poetic bluestockings. Set during W.W. II—as are so many of the movies on this list—it takes place in the stark and savage Scottish Hebrides, and fits into that classic genre in which a woman falls in love with the right man as she travels to wed the wrong one. Wendy Hiller fights the feeling, but the incomparable Roger Livesey, aided by wind and sea, gray seals and a golden eagle, is too much for her. The story and screenplay for this fairy tale—complete with a curse—were written in less than a week, clearly in a state of enchantment. IT HAPPENED ONE NIGHT 1934The odds were against this one. Claudette Colbert was practically the last choice for the female lead.
And Clark Gable did it only because MGM lent him, at a profit, to Columbia. Directed by Frank Capra, the movie ended up sweeping the top five Academy Awards of 1934. Colbert plays a bratty heiress on the lam without money, who, in exchange for help, gives her story to the roguish reporter played by Gable.
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Their adventures leave us with a gallery of indelible images: the Walls of Jericho (a motel room divided by a blanket on a string); the how-to-hitchhike lesson; the runaway bride, white tulle flying like a comet’s tail. With her man-in-the-moon beauty and 30s slouch, Colbert is more Pierrot than Columbine. She’s just right for Gable, her Harlequin. Their journey has the rough-and-tumble, seat-of-the-pants quality of commedia dell’arte, transplanted to the dusty roads of the Northeast Corridor. THE LONG, HOT SUMMER 1958His name is Ben Quick, he’s a barn burner, and he’s played by a sizzling Paul Newman. Yet it still takes all summer to woo and win the cool drink of lemonade that is Joanne Woodward in the role of Clara Varner.
The magnificent Orson Welles is her father, and he wants Quick to marry Clara and bring fresh blood into the family. With Angela Lansbury, Lee Remick, and Anthony Franciosa rounding out this classy, randy romp through William Faulkner, it’s an Actors Studio contact high. Watch Newman with the sound off and his body telegraphs everything. Turn the sound back on and he’s a troubadour poet.
“I’ll bet you was a mighty appealin’ little girl,” Ben tells Clara. “I’ll bet you knew where to look for robins’ eggs and blackberries.
I’ll bet you had a doll with no head on it.” Irresistible. LOVE AFFAIR 1939 AN AFFAIR TO REMEMBER 1957It begins with two beautiful specimens: he a Sunday painter and she a nightclub singer, both engaged to wealthy others. Meeting aboard ship, they recognize that they are the same species—kept lightweights—and they begin to pal around.
By the end of the crossing they are in love. But is it real and can they afford to stay together? They decide to rendezvous in six months, at the top of the Empire State Building. If both show, it’s a go.
One doesn’t show. And both deepen. The first version stars the ineffable twosome Charles Boyer and Irene Dunne—Veuve Clicquot!
The second version, not as light, perhaps a sauterne, has Cary Grant and Deborah Kerr. Either way—Leo McCarey directed both—have hankies ready for the final scene. LOVE STORY 1970Erich Segal’s screenplay came first and then Paramount Pictures asked him to write the novel, published as a preview to the movie, which premiered 10 months later.
So it was studio synergy plus an Ivy League setting: Harvard, as in Ryan O’Neal, and Radcliffe, Ali MacGraw. Love Story has a famously blunt opening line, “What can you say about a 25-year-old girl who died?” and an equally famous, if dubious, last line, “Love means never having to say you’re sorry.” It’s a soap, no question, and despite the title there isn’t much story.
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Brains working overtime disdained the movie. Nevertheless, it was huge. The badinage between O’Neal and MacGraw was a fresh update on the classic rich-boy-loves-poor-girl formula, bringing the word “preppy” into the wider culture. And the death of Ali MacGraw’s Jenny gave a lot of people a good cathartic cry. Ryan O’Neal and Ali MacGraw in Love Story., From Paramount Pictures/The Neal Peters Collection. NOTORIOUS 1946Has any director staged them with such a consummate blend of intensity, delicacy, and languor?
In the movies of Alfred Hitchcock, the world ceases to exist outside a kiss. In this masterpiece, Ingrid Bergman’s Alicia Huberman, the daughter of a convicted Nazi spy, attempts to escape both herself and the world through fast living.
When she falls in love with Cary Grant’s T. Devlin, a government agent, she becomes a U.S. Spy to be near him, to please him, and to punish herself— and him. Hitchcock laces this love story with poison: intonations of self-obliteration, self-sacrifice slipping into sadomasochism. As for the luminous black-and-white cinematography: a thousand shades of gray. NOW, VOYAGER 1942This was the favorite movie of America’s most inventive fashion designer, Geoffrey Beene.
He loved Bette Davis’s transformation from a deeply dowdy (read: traumatized) 30-ish homebody to the glamorous woman of the world she becomes once she gets away from her soul-crushing mother. It happens on a cruise, her first travel on her own; and a stylish medley of hats and gloves, capes and veils, signals her thrilling metamorphosis. One of the catalysts for this change is a man she meets on board, the deeply decent yet unhappily married Paul Henreid. They become lovers, but the physical relationship must end when they both return to responsibilities at home. Their love, however, goes through its own metamorphosis, touching the sublime in sublimation, a shimmer captured in the unforgettable last line, “Don’t let’s ask for the moon. We have the stars.” AN OFFICER AND A GENTLEMAN 1982It wasn’t going to end happily ever after.
Director Taylor Hackford and star Richard Gere initially thought such an ending would betray the blue-collar, working-class dynamics of this scruffy story. Everyone here is trying to get up to the next rung: the young men enrolled in the U.S. Navy’s aviation officer candidate school, as well as the young women in the local mills, who date the prospective officers and dream of marrying one (which some do, oops, by getting pregnant). Gere is Zack Mayo, a hustler who has nowhere to go but up.
Into the clouds, he hopes, as a navy flier. Between the tough love of Sergeant Foley, played by Louis Gossett Jr., and the honest (not to mention undeniably hot) love of girlfriend Paula—Debra Winger, fresh off her success in Urban Cowboy—Gere grows in character. The rousing finale—chills—is earned. THE REMAINS OF THE DAY 1993When a house—the manor and its manners—is more important than the people who run it, what happens to love?
Where does a life “in service” end and a private life begin? These are the questions that haunt The Remains of the Day, the Merchant Ivory film based on Kazuo Ishiguro’s Booker Prize–winning novel of 1989. The answers to these questions have consequences that are personal, of course, but also political.
Anthony Hopkins, as the English butler Stevens—chief of staff for Lord Darlington—is quietly loved by the housekeeper Miss Kenton, played by Emma Thompson. He is so caught up in correctness that he can’t see a crime occurring under his nose. When Stevens finally opens his eyes, and his heart, he understands—as Edith Wharton’s Newland Archer did before him—that being correct is sometimes the wrong answer, a crime against oneself. ROMAN HOLIDAY 1953Audrey Hepburn would go on to star in a slew of chaste and charming fairy-tale romances—including Sabrina, Funny Face, and My Fair Lady—but this was the movie that made her a Hollywood princess. Certainly her peculiar blend of innocence, gravity, and grace was perfect for the runaway royalty she plays here. Tired of airless hotel rooms and state ceremony, Princess Ann escapes into the night and spends the next day experiencing Rome with a good-natured guy, Gregory Peck, and his pal Eddie Albert.
She doesn’t know that they are newspaper reporters who are scooping her story, and Peck doesn’t know that he’s going to fall in love with this princess. The ending is all in the eyes and unspeakably affecting.
SAY ANYTHING. 1989Looking like Elvis Presley’s baby-faced younger brother (if he had one), John Cusack is utterly endearing in this little love story with an outsize fan base.
He plays average guy Lloyd Dobler (which makes you think of “dabbler”), who has just graduated from high school and is besotted with Diane Court (Ione Skye), the shy class valedictorian. He asks her out, and on a lark she says yes. It’s kismet, and this dewy, poignant pair of lovebirds coos through the summer until Diane must fly to England for a fellowship. The movie marked Cameron Crowe’s directorial debut, and it plays like a series of set pieces, all of them closing in on the human heart. Lili Taylor as Corey, Lloyd’s close friend, is hilarious and beatific at once.
SENSE AND SENSIBILITY 1995Every movie based on the work of Jane Austen is romantic, and God knows there are viewers who still haven’t recovered from Colin Firth as Mr. Darcy in 1995’s BBC production of Pride and Prejudice. But that year also brought forth Sense and Sensibility, directed by Ang Lee, from a screenplay by Emma Thompson. In its fiercely composed, almost metaphysical landscapes, its brushstrokes of deep darkness, the movie invokes and then challenges the high Romanticism that is one of the novel’s themes. The cast is showstopping. A young Kate Winslet is the too passionately romantic Marianne, Thompson is the too selfless Elinor, and Greg Wise, Hugh Grant, and Alan Rickman are their too divine love interests. So let’s give the BBC—with Firth and Jennifer Ehle (the definitive Elizabeth Bennet!)—the prize for best Pride and Prejudice.
Which leaves 1995’s Sense and Sensibility to win best Jane Austen film to date. THE SHOP AROUND THE CORNER 1940Charm, charm, and more charm. Set in a gift shop in Budapest, where there’s much ado about a music box for cigarettes/candy, Ernst Lubitsch’s romantic comedy is a gift in itself, offering up delightful performances when opened.
The Austrian sheers on the store windows tuck the viewer in to 99 cozy minutes as elfin Margaret Sullavan spars with the heartbreakingly young and elegant James Stewart (the acting chops are already there—the touchy cross-currents playing about the cloudless face). They irritate each other at every turn, these two co-workers, and have no idea that they also happen to be each other’s “Dear Friend,” anonymous pen pals, sharing their hearts through the mail. Frank Morgan, that grand MGM staple, turns in a touching performance as their temperamental boss, Hugo Matuschek.
The script is a delicious Hungarian pastry. And the last reel pure joy! THE WAY WE WERE 1973You can view it as a vanity production if you want, but this movie with almost no plot—it’s more of a big-budget home movie following the fates of a few college classmates from the 30s to the 50s—strangely holds up. Barbra Streisand’s Katie is the ugly-duckling campus Communist who loves Robert Redford’s golden-boy writer, Hubbell, from afar. After graduation she goes glossy and bags Redford, who, like a postwar F. Scott Fitzgerald (which makes Streisand a sort of crazy Zelda), takes her to Hollywood, where he writes screenplays and she gets all activist again, this time about the blacklist. Katie’s tugging insecurity about her looks is the wrinkle in the romance: she can’t believe a beauty like Hubbell could actually love her.
They break up without ever discussing why, crushing the hearts of ugly ducklings everywhere who saw themselves in Katie—including Sex and the City’s Carrie Bradshaw, who really wasn’t as pretty as Big was handsome but was eventually smart enough to know that she didn’t need to be. Robert Redford and Barbra Streisand in The Way We Were., © Columbia Pictures/Photofest. WORKING GIRL 1988Harrison Ford as an aw-shucks Apollo. Sigourney Weaver like Hera from on high. And Melanie Griffith a working-class mortal who believes she can succeed in high finance. “I have a head for business,” she tells Ford, “and a bod for sin.” A Cinderella story set in the world of mergers and acquisitions, Working Girl is yet another romance of transformation, but there’s nothing passive about Tess McGill, the character played by Griffith. When her boss—Weaver’s Katharine Parker—is laid up in Europe with a broken leg, Tess smooths her Staten Island perm into a classic French twist (a nod to mom Tippi Hedren), puts on a power suit (remember shoulder pads?), and takes a meeting (pretending to be Parker’s colleague) with Ford’s Jack Trainer.
It’s a well-built little film with a great supporting cast, a stirring finale, and, in Ford and Griffith, an adorable update on the classic rich-poor couple of the 30s.