Love Story (1970)
Directed by Arthur Hiller
Harvard Law student Oliver Barrett IV and music student Jennifer Cavilleri share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds, the young couple put their hearts on the line for each other. When they marry, Oliver's wealthy father threatens to disown him. Jenny tries to reconcile the Barrett men, but to no avail.
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What critics compared Love Story to
Green’s romantic, heart-aching, heartbreaking, poignant melodrama of two kids on a “star-crossed” course with fate has teen-DNA strands stretching all the way back to antiquity, running from Romeo and Juliet through the classic 1970s tear-jerker Love Story .
Elgort is boyishly handsome (in a way that’s distractingly reminiscent of " Love Story "-era Ryan O’Neal, actually) but never quite radiates the charisma required to keep up with Woodley.
The good old-fashioned tearjerker is a Hollywood tradition stretching past the tear-soaked cheekbones of Debra Winger in Terms of Endearment to Ali McGraw in Love Story and all the way back to the flickering silent tragedies of Mary Pickford.
Which is O.K. Neither was Love Story , or A Walk to Remember , or any of the myriad other tearjerkers that play out in the same fashion.
It goes beyond the absurdity of Ali MacGraw looking adorable moments before her death in the groundbreaking 1970 film “Love Story.”
Move over Love Story and Walk to Remember, there’s a new mildly morbid cry in town.
The film borrows elements from Twilight and Love Story and every other teen romance and terminal illness melodrama that springs to mind.
Mandy Moore had A Walk to Remember, Shailene Woodley had The Fault in Our Stars, and never forget the patient zero of these movies: the ’70s cancer tearjerker Love Story.
The 12-year-old girls who are the film’s target audience probably won’t realize what it’s derivative of: a little bit of John Hughes and a lot of “ Love Story .”
In the U.S., however, this tacky make-a-wish fantasy is merely the latest addition to that odd subgenre of terminal-teen romance — from “Love Story” to “The Boy in the Plastic Bubble” — in which a case of puppy love between a pair of preternaturally beautiful young people is rudely interrupted by the Grim Reaper.
“What can you say about a 25-year-old girl who died?” goes the opening narration of the immortal “Love Story” (1970).
This is no The Fault in Our Stars or Love Story.
Of course, in the end, we see Rambo in every remade hero, Love Story in every tale of unrequited affection altered by terminal illness.
The critically approved soundtrack (heavy on Brian Eno), cool casting (Nick Offerman plays Greg's oddball father) and art-house in-jokes (Greg and Earl make spoof-movies with titles like "A Sockwork Orange") seem designed to separate this hip romance from a square old one like "Love Story."
Basada en una novela de Jesse Andrews adaptada por él mismo, Yo, él y Raquel, premio del Público en Sundance, podría ser el Love story de la generación hipster (aquí también hay leucemia), pero es sobre todo un triunfo del tono, de la combinación del drama con la comedia.
Clearly designed to replicate the weepie appeal that catapulted 2014’s teen cancer-romance The Fault in Our Stars to a $US307m take, Five Feet Apart is a very well-made heart-string tugger, blending the fast-talking, tech-savvy style of these new-century kids with the unapologetic old-school sentimentalism of 1970’s classic Love Story .
Si Love story en los años setenta fue acusada de lacrimógena, A dos metros de ti supera barreras en la materia doblando la apuesta médica y sin el freno autoimpuesto por Bajo la misma estrella, al menos por la versión cinematográfica, sin excesos sentimentales a pesar de la contundencia de su punto de partida.
Admittedly, it features two lead characters who suffer from a potentially fatal ailment that threatens to tear apart their blossoming romance, much like everything from Love Story to The Fault in Our Stars .
Director Justin Baldoni ( Jane the Virgin ) clearly has his heart in the right place and even has a few interesting ideas up his sleeve, but they mostly get overwhelmed by the shamelessly contrived prerogatives of the doomed-lovers movie category that first minted box-office gold with 1970’s Love Story .
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It’s tough for a harrowing, essentially unrelenting film like this to break through to wider audiences, although Love Story (1970) and Terms Of Endearment (1983) are admittedly two exceptions to the rule, and recent teen dramas such as The Fault In Our Stars (2014) have also bucked the trend.
Make no illusions that this is a Love Story sort of tale, but it is one full of heart and centered on someone not in the immediate family.
It reads as an angry corrective to gauzy, romanticized tear-jerkers such as “Love Story” and the like, which is ironic considering that OUR FRIEND , the beautifully acted, big-screen adaptation of Teague’s tale, falls prey to every cleaned-up cliché he spent the story railing against.
Imagine “Love Story,” except there’s a third member of the couple dynamic.
"Love Story" has a durable plot, and the movies often feature brave young men and women dying photogenically on screen.
In Gabriela Cowperthwaite’s “Our Friend,” based on an Esquire magazine article written by Matthew Teague, we witness many a familiar scene from the cancer movie blueprint (see “Love Story,” “Terms of Endearment,” ”The Fault in Our Stars,” et al.), from the noble patient who just might beat this thing but then suffers a setback to the loving friends and family members who are sometimes overwhelmed by everything but feel like they can’t complain, to the flashback sequences when life was relatively carefree and light, to the final farewell, which gets us every time.
In fact, Payne and cinematographer Eigil Bryld might cringe at this, but the snowy Barton campus even evokes a little bit of 1970’s “Love Story” (in the best way possible).
If a scene of the duo 'skating' as Kong delights in sliding on ice had me suppressing the urge to hum the 'Skating in Central Park' theme from "Love Story," it still possessed its own magic, Kong seeming somehow less anthropomorphized than those marching penguins.
More frequently, this Dark Shadows relies on slow-pitch wasn't-the-past-dumb humor: The 1970s are lampooned for macramé art and inane pothead conversation, Love Story and lava lamps and the Steve Miller Band .
The jokes are easy pickings, but they score anyway, thanks to Depp’s befuddlement in the face of a McDonald’s sign or a troll doll, his assessments of everything from Scooby Doo (“This is a very silly play”) to Love Story , and his peculiar ideas about love and the essentiality of dowries and “birthing hips.”
Most humiliatingly, he is reduced to reading Love Story.
The central joke of the picture — that long-buried Barnabas awakens from his 200-year hiatus to find himself in the strange new world of 1972 — is good for a few bits, as when Barnabas is seen devouring a hardback edition of "Love Story."
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"Dying Young" is sort of "Love Story" by way of "Pretty Woman": Poor girl from the uneducated side of the tracks meets rich, dying young man who hires her to be his companion.
The storyline for this “Love Story” knockoff may be as insubstantial as, well, “Love Story,” but Roberts (with considerable help from co-star Campbell Scott) has the unstoppable watchability to involve us in it not only against our will but often against our better judgment as well.
Joel Schumacher's lamentable tear-jerker is a crass crossbreed of Love Story and Pretty Woman , and leaves one wishing that the terminally sick rich lad at the centre of this interminable nonsense had died even younger (or at least before the cameras arrived).
Vincent's leukemia is nothing like the mysterious disease that consumed Ali MacGraw in "Love Story" and left her corpse looking as immaculate as Snow White in her coffin.
Brewster, who has the dark-eyed intensity of Ali MacGraw in Love Story , is the best thing about D.E.B.S.