Love StoryThe conversation between lead characters is the real gem in this feature that endorses its genuine soul and hard work that went into whilst writing the script and that is what helps the audience connect this tearjerker no matter how corny and cheesy (especially its last act) it can be on other aspects of it. Arthur Hiller; the director is in his A game but their isn't much to interfere in here to this beautifully poetic screenplay of Erich Segal. Despite of having wider range, Ryan O'Neal isn't as convincing as Ali MacGraw who clearly put her heart into it that impacts strongly to the audience. Love Story is an outstanding masterpiece on terms of a 'date movie" but if accounted other things, a bit mildness into it would have added more gravitas to the emotion, characters and the feature.

Where Do I Begin theme track is the best part of the film that still holds this film up above most of its copies that were churned out over the years and it never goes too melodramatic either. But the film could have taken some more time for establishing the characters and the relationship. Although not as good to get the numerous Oscar nominations it got this is still a very good film that became a template for the chick flicks.

A silly, trivial film, "Love Story" cons too many of its viewers with its schlocky sentimentality and its idealization of the East Coast power elite. Still, it presents an interesting view of social attitudes prevalent in a 1970's Ivy League setting. "Love Story" tries to make an egalitarian nod towards an unlikely romance between a WASP scion and a poor but gifted Italian-American woman. At the same time, the film constantly glamorizes and glorifies the northeastern top-out-of-sight Anglo-American culture associated with Harvard. The beautiful cinematography evident throughout the film pays homage to Harvard and to east coast chic.Spoiler Alert:Oliver Barrett IV (Ryan O'Neal) rebels against his anally retentive and classist father (Ray Milland) by marrying Jennie Cavalieri (Ali MacGraw), a working-class Italian-Catholic woman from Cranston, Rhode Island. Quel horreur! While Jennie pretends to disdain preppies, her obvious fascination with their social power is evident in her emulation of their clothing styles and her preference for WASPy men. She even claims (somewhat ironically) to "love" the number after Oliver's name. During her meeting with his nauseatingly pretentious parents the usually blunt Jennie is charmingly demure, and nearly as smooth as Sydney Poitier in "Guess Who's Coming to Dinner." This is a romance motivated not so much by true love, as by mutual fascination with the Other from a different side of the tracks.Jennie's class crossover from proletarian Cranston to Preppieland may have been a major source of the film's romantic appeal, especially since the myth of "movin' on up" is cherished to an extreme in America.By my lights, Jennie Cavalieri makes a horrible mistake when she gives up a fellowship to study music in Paris with the acclaimed Nadia Boulanger. Instead, she falls for the oldest myth in the book by marrying Oliver Barrett, the quintessential bland corporate type from the "right" background. In the real world, unions between working-class types and preppies rarely work due to the snobbish attitudes of the latter. It is wiser for talented people from more modest backgrounds to gain entry into the upper classes through intellectual and artistic abilities that will give them staying power, rather than through marriage alone. Had Jennie gone to Paris to fulfill her dream of becoming a concert pianist, she not only could have realized her creative potential, but she also could have eventually married a man from a more culturally sophisticated and less class obsessed background than Oliver Barrett IV. This better spouse for Jennie would also have been more appreciative of her musical gifts.The ridiculous line, "love means you never have to say you're sorry" is the dictum of a spoiled and entitled richie who uses others for pleasure and profit. When Oliver throws this line at "Papa" after Jennie's death, this relieves the eminent Mr. Barrett of any responsibility for his vile snobbery. Oliver is welcomed back into the fold only after Jennie no longer exists as a threat to the Barrett family's WASPocracy.Fortunately in the post millennial world, a rich WASP man would not be viewed as the ultimate prize for a woman like Jennie Cavlalieri, since the current bourgeois bohemian culture in America would encourage her to seek other choices. Who knows? Perhaps Jennie's immune system had an aversion to Oliver's preppy sperm -- and this caused her fatal illness.

Movies like this are what one should watch movies for. On the surface, it looks typical. At the very beginning,Jennifer's death is declared openly and the audience expect the thunderbolt from the very beginning and probably wonder what form it will take. But that is not what matters. The story itself is nothing too special. But what makes it special, or rather, what makes it different from a thousand other variations of this cliché? The answer is "humanity". Both Oliver and Jennifer are relatable as human beings who want to find their way in the world,specifically Oliver who wants to stand on his own two feet and move out of his father's "shadow". You feel for them and want them to succeed. There are compromises and sacrifices but you do understand they would not have it any other way. Oliver is lucky in many ways in that he got himself a wife who sacrificed her career and put up with his tantrums. Not everyone get such an ideal wife. But that is what love is. The writers have showed the ideal of love in these two characters. Love means having to sacrifice or compromise without expecting anything in return. It's unconditional. Thus, in real love, you don't have to say "sorry". One can always say the real world does not work that way and will be proved right. But that is also an aspect of human nature. But this ideal is what keeps one moving forward. It helps us face the harsher aspects of reality and should thus not easily be cast aside. In the end, the point of the movie is that Jennifer's life was short but it was not insignificant or empty. That is what truly matters.