Galante Rendição

During the dark days of 1944 this film showed hope and endurance. It is in the widest sense of the word a romantic film, but the dark undertones of personal illness and impending blindness must have struck a very realistic response in the audience of the time, wondering for how long they had to endure the hazards of war. No spoilers but Margaret Lockwood faces her problem and Stewart Granger comes to terms with his. Patricia Roc, who is equally in love with Granger, must face life as it is, and her acting is faultless. Well directed and with superb photography nothing jars, and the haunting music of ' Cornish Rhapsody ' ranks with the best of film music, and Lockwood who plays a pianist ( and supposedly ) composes it herself does it full justice. Romantic with an edge it is a landmark of good British film making. The scenes set in the Minack Theatre in Cornwall are brilliantly filmed, especially when the ' Cornish Rhapsody ' is played by Lockwood in for me her greatest role. The final dialogue must have deeply resonated with those watching back then, and in many ways still do.

Described by the late David Shipman as 'riotous'. Both Margaret Lockwood and Stewart Granger (who makes no mention of it in his memoirs) suffer nobly in this glossy and garrulous early example of the 'disease' genre that swept the cinema in the seventies after the 'other' 'Love Story'.

One of the few Gainsborough romances in a contemporary setting, it's basically 'Last Holiday' done as a chick flick with concert pianist Lockwood pounding the ivories in as glamorous a wardrobe as wartime clothing restrictions permitted.

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.

this lovely and stylish film, shows the highly underrated talents of Ms. Margaret Lockwood. She is the Pianist, with a secret, who falls in love with a man, also hiding a secret. she makes the biggest sacrifice for him, "when you love somebody set them free." the cast is incredibly likeable, and good acting all round

Had heard of this movie, more particularly with concern to its music but my first opportunity to actually watch it was last night when ABC showed it as a early hours of the morning item, which coincided with a does of my insomnia.

One shudders to think that Hollywood may have done with this, as the premises of the skyline would so easily lend to laying on the melodrama and clichéd sentiment with a trowel. Thankfully, British understatement, be it in direction and performance, makes this an effective and tasteful exercise.

The musical motif, the Cornish Rhapsody, is possibly being the most famous legacy of this film. It was one of a number of series of rather similar quasi- piano concertos from British films of that era that found a place in the musical memory. The most noted of these being the Warsaw Concerto. I was interested to read an earlier post stating that it was Harriet Cohen who played the piece, as I did have a thought that it may have been a job for Eileen Joyce.