Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

t-pitt-1 In giving Love Story 6 stars I am very conscious that I am judging it by today's standards rather than the standards of 1944 when the film was released. Soppy and melodramatic it may be, but nevertheless there there is a lot to enjoy and appreciate in it. I was particularly interested in the Cornish setting, with some quite spectacular coastal scenery which is well photographed in black and white. Margaret Lockwood is excellent as dying pianist Lissa, but I'm afraid I found Stewart Granger very hard to swallow. Someone else described him here as wooden and supercilious and I can only agree. The supporting cast are all very good and in the background of the story is WW2, which at the time of the film's release was still in full swing. As a piece of romantic escapism I can imagine it would have been very popular with British audiences who were carrying on with a stiff upper lip and enduring terrible privations and the constant fear of death,,either their own or that of loved ones. The music, Herbert Bath's Cornish Rhapsody, is memorable and very well played. Something of a curiosity, it is well worth a look.

murray-allison94 I love anything with Margaret Lockwood in it. Stewart Granger also had something, I think. The settings are great and the music too. I've never been to that spot where the open air concert takes place but its on my list. But mostly what I like about this film is the totally ludicrous plot. It's one of those truly whacky films of the forties where nobody tells anybody anything but the characters variously are dying/ suffering from a serious condition such as amnesia or (as here) encroaching blindness but, because they're British, they can't tell each other or anybody else. It's obviously completely bonkers but they just don't make them like it now.

Jem Odewahn This 1944 Gainsborough melodrama was not a costume production, yet LOVE STORY retains and builds upon many of the trademark Gainsborough elements. The film was made as a sort of morale booster/romantic escapist drama in the midst of World War Two. Looking at it today, it does seem outdated and melodramatic in many ways, yet it is still remarkably poignant in it's theme of "When you love someone, you set them free".Lockwood and Granger star together in this film, a year on from the smashing success of THE MAN IN GREY. However, Miss Lockwood is no wicked, social-climbing villianess here. Instead she's a charming pianist who learns that she has a heart condition that will soon lead to her death. Determined to make the most of what little time she has, Lockwood's character Lissa Campbell checks into a Cornish hotel. There she meets Kit Firth (Stewart Granger), a former RAF pilot who is also harboring a painful secret. He is going blind. The pair quickly fall in love, yet both cannot bring themselves to tell the other the truth. Granger's childhood friend Judy (Patrica Roc)also begins to cause trouble between the pair, as she's secretly in love with Kit.The plot is melodramatic, yet it's quite entertaining. The performances are generally good, with Lockwood showing she could play a sympathetic heroine as well as she could play a scheming bitch (THE MAN IN GREY). Granger makes an attractive lead, while Roc gets quite an interesting role. Roc was usually the second lead to either Lockwood or Phyllis Calvert in the Gainsborough dramas, yet her Judy is not the tearful milksop of THE WICKED LADY. She is a strong, independent, caring yet jealous and manipulative friend of Granger, who will do almost anything to covet his affections. Roc gets some nice catty scenes with Lockwood, and she pulls them off well.While the script descends into slush at times and some of the location work is rather ordinary (not to mention the "faking" of Miss Lockwood's concert scenes), LOVE STORY is generally an entertaining melodrama with quite a few virtues. I prefer my Gainsborough dished up with a dose of Mason and played out in Regency-era England (or Italy, in the case of the delicious MADONNA OF THE SEVEN MOONS), yet LOVE STORY is a worthy entry in the Gainsborough romantic cycle.

Mozjoukine The English films of this time - with a few exceptions - are stunningly awful, as this relic reminds us.Packed with derivations from films that weren't any good in the first place (DANGEROUS MOONLIGHT, BEETHOVEN'S GREATEST LOVE) we get the studio-with-location-insets romance of classical pianist (wouldn't you know) Margaret Lockwood, who is not quite as awful as she would be in her post war efforts, and soon to be blind (he practices walking in mine shafts !) Stewart Granger, which inspires her to go riding in Pony Carts singing traditional numbers then pushed by the radio and composing the Cornish Rhapsody, in which she entombs the sound of sea gulls and breaking waves.Never convincing and never throwing up appealing fantasies, this twaddle just offers a complacency which disturbs in its historical context. Despite it's attempts at high gloss, it's also remarkably drab.