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Love Story is a 1970 American romance film written by Erich Segal, who was also the author of the best-selling 1970 novel of the same name. It was produced by Howard G. Minsky,[4] directed by Arthur Hiller, and starring Ali MacGraw, Ryan O'Neal, John Marley, Ray Milland and Tommy Lee Jones in his film debut.
The film is considered one of the most romantic by the American Film Institute (No. 9 on the list) and is one of the highest-grossing films of all time adjusted for inflation.[5] It was followed by a sequel, Oliver's Story (1978), starring O'Neal with Candice Bergen.
Jenny makes funeral arrangements with her father from her hospital bed. She tells Oliver 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 for Oliver to embrace her tightly as she dies.
Erich Segal originally wrote the screenplay and sold it to Paramount Pictures. While the film was being produced, Paramount wanted Segal to write a novel based on it, to be published on Valentine's Day to help pre-publicize the release of the film. When the novel was released, it became a bestseller on its own in advance of the film.
The original director was Larry Peerce. He backed out and was replaced by Anthony Harvey. Harvey dropped out and was replaced by Arthur Hiller. Jimmy Webb wrote a score for the film that was not used.
Bill Cleary, former Harvard and 1960 U.S. Olympic hockey star (and later Harvard's hockey coach/athletic director), was Ryan O'Neal's hockey stand-in during key hockey scenes where skating and hockey-playing ability were required. Hockey scenes were filmed in three days at Harvard's former Watson Rink, which was rebuilt and is now known as Bright-Landry Hockey Center. Other hockey players in the film were played mostly by actual Harvard and Boston University hockey players, including Joe Cavanagh and Mike Hyndman.
Filming Love Story on location resulted in damage to trees on campus. This experience, followed by a similar experience with the film A Small Circle of Friends (1980), caused the university administration to deny most subsequent requests for filming on location.[9]
Overall, Love Story received positive reviews. Rotten Tomatoes retrospectively collected reviews from 29 critics and gave the film a score of 66%. The critical consensus reads: "Earnest and determined to make audiences swoon, Love Story is an unabashed tearjerker that will capture hearts when it isn't inducing eye rolls."[11]
Roger Ebert 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. Why not?"[12] Charles Champlin of the Los Angeles Times was also positive, writing that although "the plotline 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."[13]
Newsweek felt the film was contrived[12] and film critic Judith Crist called Love Story "Camille with bullshit".[14] Vincent Canby of The New York Times wrote, "I can't remember any movie of such comparable high-style kitsch since Leo McCarey's Love Affair (1939) and his 1957 remake, An Affair to Remember. The only really depressing thing about Love Story is the thought of all the terrible imitations that will inevitably follow it."[15] Gene Siskel 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."[16] Gary Arnold of The Washington Post wrote, "I found this one of the most thoroughly resistible sentimental films 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."[17] Writer Harlan Ellison wrote in The Other Glass Teat, his book of collected criticism, that it was "shit". John Simon wrote that Love Story was so bad that it never once moved him.[18]
Love Story was ranked number 9 on the AFI's 100 Years...100 Passions list, which recognizes the top 100 love stories in American cinema. The film also spawned a trove of imitations, parodies, and homages in countless films, having re-energized melodrama on the silver screen, as well as helping to set the template for the modern "chick flick".
Love Story was an instant box office smash.[19] It opened in two theatres in New York City, Loew's State I and Tower East, grossing $128,022 in its first week.[10] It expanded into another 166 theatres on Christmas Day and grossed a record $2,463,916 for the weekend, becoming the number-one film in the United States.[20][21] It also grossed a record $5,007,706 for the week[22] and grossed $2,493,167 the following weekend.[23] It remained number one at the US box office for the next 4 weeks before finishing second behind The Owl and the Pussycat for one week and then returning to the top of the box office for another six weeks. It went into general release in the United States on June 23, 1971, expanding into an additional 143 theatres in New York, Los Angeles, Chicago, Detroit and St. Louis, grossing $1,660,761 in five days and returned to number one at the US box office for another 3 weeks, for a total of 15 weeks at number one.[24][25] It was the sixth highest-grossing film of all time in U.S and Canada with a gross of $106,397,186. Adjusted for inflation, the film remains one of the top 50 domestic grosses of all time.[5] It grossed an additional $67 million in international film markets for a worldwide total of $173.4 million ($1.3 billion in 2023 dollars).[3]
The film was first broadcast on ABC television on October 1, 1972, and became the most-watched film on television surpassing Ben-Hur (1959) with 27 million homes watching, with a score of 42.3 by Nielsen ratings and an audience share of 62%.[34][35] The rating was equalled the following year by Airport (1970) and then surpassed in 1976 by Gone with the Wind (1939).[35]
O'Neal and Milland reprised their roles for a sequel, Oliver's Story, released in 1978. It was based on Segal's 1977 novel. The film begins with Jenny's funeral, then picks up 18 months later. Oliver is a successful, but unhappy, lawyer in New York. Although still mourning Jenny, he manages to find love with heiress Marcie Bonwit (Candice Bergen). Suffering from comparisons to the original, Oliver's Story did poorly with both critics and audiences.
Vincent Canby wrote in his original New York Times review that it was "as if Jenny was suffering from some vaguely unpleasant Elizabeth Arden treatment".[15] Mad magazine ran a parody of the film ("Lover's Story") in its October 1971 issue, which depicted Ali MacGraw's character as stricken with "Old Movie Disease", an ailment that causes a dying patient to become "more beautiful by the minute".[52][53] In 1997, Roger Ebert defined "Ali MacGraw's Disease" as a movie illness in which "the only symptom is that the patient grows more beautiful until finally dying".[54]
In 1971, the 20th episode of the fourth season of The Carol Burnett Show featured a take-off of the film called "Lovely Story", with Carol Burnett in the MacGraw role and Harvey Korman in the O'Neal role.[55]
The film's female protagonist has been credited with the spike in the baby name Jennifer in North America in 1970, launching it to the number 1 feminine given name.[56] It would hold this position for 14 years.
At the 2002 Winter Olympics in Salt Lake City, Canadian Pairs figure skaters Jamie Sale and David Pelletier skated their free skate to the film's theme, initially losing the gold medal in a now-infamous 2002 Winter Olympics figure skating scandal moment in sports history.
The loudest voice in Michael Moore's latest film speaks to us from the grave. It belongs to Franklin Delano Roosevelt, less than a year before his death, calling for a Second Bill of Rights for Americans. He says citizens have a right to homes, jobs, education and health care. In measured, judicious words, he speaks gravely to the camera.
Until a researcher for Moore uncovered this footage, it had never before been seen publicly. Too ill to deliver his State of the Union address to Congress in person, Roosevelt delivered it on the radio, and then invited in Movietone News cameras to film additional footage in which he advocates for the Second Bill of Rights. It was included in no newsreels of the time. Today, eerily, it still seems relevant, and the improvements he calls for are still unachieved.
But what must we do to repair our economy? Moore doesn't recommend socialism. He has faith in the ballot box, but believes Obama has been too quick to placate the rich and has not brought about substantial reforms. The primary weapon that Moore employs is shame. That corporations and financial institutions continue to exploit the majority of Americans, including tea baggers and Town Hall demonstrators, is a story that hasn't been told.
You may have seen that weirdo screaming on the financial cable show about shiftless homeowners who obtained mortgages they couldn't afford. Moore says that in fact two-thirds of all American personal bankruptcies are caused by the cost of health care. Few people can afford an extended illness in this country. Moore mentions his film "Sicko" (*cough*).
The film is most effective when it explains or reveals these outrages. It is less effective, but perhaps more entertaining, when it shows Michael being Michael. He likes to grandstand. On Wall Street, he uses a bullhorn to demand our money back. He uses bright yellow police crime scene tape to block off the Stock Exchange. He's a classic rabble rouser. Love him or hate him, you gotta give him credit. He centers our attention as no other documentarian ever has.
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