Tagged: Ryan O’Neal
Love Story: Ryan O’Neal’s Sheepskin Shearling Coat
Ryan O’Neal as Oliver Barrett IV in Love Story (1970)
Vitals
Ryan O’Neal as Oliver Barrett IV, preppy Harvard student
New England, Winter 1966, and New York City, Winter 1970
Film: Love Story
Release Date: December 16, 1970
Director: Arthur Hiller
Costume Design: Alice Manougian Martin & Pearl Somner
Background
Happy Valentine’s Day! In the spirit of the season of romance, it felt appropriate to explore the preppy style in one of the most famous cinematic love stories of all time… the perhaps uncleverly titled Love Story.
I went into my inaugural Love Story viewing this year familiar only with Larry Siegel and Mort Drucker’s Mad magazine parody and the movie’s reviled thesis that “love means never having to say you’re sorry,” so I was a little surprised to find myself non-ironically enjoying it more than I expected. Sure, my friend @berkeley_breathes had primed me to expect some standout Ivy-inspired style worn by Ryan O’Neal as our romantic hero Oliver, but I guess the half-century since Love Story has yielded considerably cornier products with the odd effect that this aged… relatively well? Or maybe I’m just speaking from behind the blinders of my enduring crush on early ’70s Ali MacGraw. Continue reading
Ryan O’Neal in The Driver
Ryan O’Neal in The Driver (1978).
Vitals
Ryan O’Neal as “The Driver”, professional getaway driver
Los Angeles, Spring 1978
Film: The Driver
Release Date: July 10, 1978
Director: Walter Hill
Costume Designers: Jack Bear, Robert Conwall, and Jennifer L. Parsons
Background
The Driver is a perfect example of European-influenced, American-made, existential ’70s cinema featuring the male anti-hero so frequently seen throughout the decade. A laconic criminal not without his own set of ethics set in a bleak world filled with morally questionable characters, Ryan O’Neal’s unnamed protagonist follows in the footsteps of guys like Vanishing Point‘s Kowalski.
Writer, director, and all-around tough guy Walter Hill’s auteurism clearly shows through in this terrific and über-cool neo-noir where talk is cheap, and those doing the most of it typically have the least to say. Continue reading