First Love

If you came of age in the 70s from a middle to upper-middle-class white family, or you just like a good dialog-based story with Cat Stevens in the background, you'll enjoy this one. Interestingly, there are no ethnic minorities portrayed in this film.

William Katt personifies the 70s nice guy better than anyone else can. I actually totally believed the scenario. It was his first love, but not hers. He was a freshman, while she was possibly a senior, and she was from a rich, educated background, while his parents owned a hardware store in presumably a small town. He was in awe of her beauty, her age, her sophistication, and even her inaccessibility. You could see it all in his eyes and mannerism, thanks to Katt's earnest effort.

Having another person in your life full time is complex and high maintenance, even under the best conditions. Add youth to the mix, and it's even harder. This movie does a fine job of portraying the three elements of a new relationship: Learning about and dealing with the other person's baggage, planning daily and weekend activities, and sex.

The music by Cat Stevens and Paul Williams hearken you back to a time when music was sensitive and dreamy, and the words meant something.

This time the guy is looking for perfect love. The guy is the romantic. The guy is the partner easily hurt. Based on a short story "Sentimental Education," "First Love" is seen through the tender eyes of a sensitive man. William Katt is that dewy-eyed guy who spots his first love (Susan Dey) in the college cafeteria. She gives him an initial rejection, acts busy, knowing all the while she would be thrilled to date him. Her sad family history and her pointless side affair will strain their romance. The couple's liaison is richly, humorously written. For such a commercial venture, "First Love" has an soul-stirring density not always present in maudlin love stories.

1977's "First Love" was a frank update of the kind of women's picture that began decades before (Harold Brodsky's original story was actually written in the 50s), but ultimately unsatisfying. William Katt follows his breakout hit "Carrie" by playing virginal college youth Elgin Smith, who instantly, and perhaps foolishly, falls in love at first sight with elegant upper class co-ed Caroline Hedges (Susan Dey), despite the presence of the older gentleman she's with (Robert Loggia), who turns out to be the lawyer business partner of her late father, a tragic suicide. A chance encounter the next day finds Elgin making an impression in clumsy fashion, and soon enough the pair are seeing each other regularly, until Loggia's reappearance with his wife (Virginia Leith) drives a tearful Caroline into Elgin's bed, for better or worse. One could describe the story as bittersweet, but surely that must be the fate of many such relationships, yet there is an underlying falseness driving Susan Dey's character that keeps us from liking her. This was Dey's starring feature debut, though a constant TV presence since THE PARTRIDGE FAMILY, achieving dramatic praise as an abusive mother later that same year in "Mary Jane Harper Cried Last Night." In only her second feature film, sexy Beverly D'Angelo truly shines in the better role, as fun loving Shelley, girlfriend of Elgin's humorous neighbor David (John Heard), who's also going out with a deadly serious girl (June Barrett) who nearly catches him in bed with Shelley. Beverly (and Susan too) gets naked in Elgin's bed on her third attempt to score with him, but he subconsciously blurts out Caroline's name, spoiling the mood. Shelley confesses that she believes that she's in love with unserious David, so it's a genuine surprise when the two actually get together to make a go of marriage. It's almost too bad that their story is secondary, but William Katt shows that he could carry a film, especially one lacking a strong trustful ending. A rare appearance for Cleveland-born Virginia Leith, the same actress who achieved cult status in her previous movie "The Brain That Wouldn't Die," but would retire for good by 1980.

I just caught this late night on TCM. I'd probably seen it 30-40 years earlier, but forgot it. My first thought -- this is like an after-school special for the over-18 set. I could tell it would be soft, and corny and talky, and a type of young romance that mostly appealed only to youth of that era. Then I "remembered" I was in college in that era. So I turned on the 70s Wayback Time Machine and tried to remember how I would watch this if I were 20. That's when I realized that this "fit" for a middle-class college kid of those days, who was still trying to figure out romance in a sexual context. I don't remember, but I bet this was hailed as soft-core porn by Playboy, since -- OMG -- Susan Dey's breasts were displayed, and not too briefly, and not in a non-sexual way. The same Susan Dey we all knew from the Partridge Family. Yowza. But old me looking at young Susan Dey? The thrill is long gone. I'm thinking "why were all of us boys so crazy about her?"

Writing-wise, I bet this was inspired by the wildly successful Love Story, another collegiate troubled romance in soft focus and long teary camera shots. It was only six or seven years earlier, and it was still being talked about in the popular culture when this movie released. This was, after all, the age of Jonathan Livingston Seagull, the Joy of Sex, Looking For Mr. Goodbar, and all those other now-quaint social commentaries and racy cultural takes.

This movie's ok. It's not bad. It's tame-lame by modern standards, but hell -- it's over 40 years old. Like me.

William Katt is very cute as a sweet and naive college student learning about love and sex for the first time. The director does a good job conveying this simplicity as the overall motif for the film. A very appropriate Cat Stevens soundtrack also contributes to the proceedings. Susan Dey is quite good as Katt's older-woman love interest. Then, just when the film has us in its grip, it lets us go in an ending of meaningless platitudes. I still liked it overall, but felt a bit let down with the unimaginitve ending.