Based on John L. Balderston play Berkeley square that was also loosely based on Henry James unfinished novel The sense of the past and a remake of the 1933 film of the same title starring Leslie Howard. The movie begins almost as a sci-fi film in a laboratory where scientifics Michael Rennie and Tyrone Power work doing atomic tests and follows as a mystery noir when they arrive to Power old XVIII mansion in Berkeley square. There, watching the surprising similarity between a Power XVIII century ancestor's portrait and he, he begans to explain to his friend a theory about returning to XVIII century, "the age of reason, of dignity and grace, of quietness and peace", as he says. As Rennie leaves the house a thunderstorm falls and time travel begins...
As the movie moves on we have a glimpse of what XVIII century really was aside of Power romanticized notions: an obscure time, full of social injustices, children work and misery as well as the illustrated era that produced men like Joshua Reynolds, dr. Johnson and James Boswell. But how did the bad things have changed if progress advances arrived sooner than they really did?
Although this "historical" part of the story is not enough developed in favor of a love story, the film presents an interesting reflection about past times looking better than they really were. Authenticity is captured by accurated sets of XVIII London (reconstructed in London Denham studios) show a dirty, poor city with enormous social and class gaps. Even the "smell" of the poor city is noticed in a scene. In a nice scene Tyrone Power character goes to the poorer part of the city and can not stand the "smell" of it, putting some perfume drops in a handkerchief to avoid it. We also see the making of the matches, that did not in fact appear until XIX century. There is a bright scene referring to Georgians' lack of hygiene when everybody gets scandalized when knowing Power takes a bath averyday!
Excellent costumes designed by Margart Furse and splendid house interiors that bring a past century in all its splendor, the house becoming a character in its own right.
Filmed in England, Tyrone Power did a research on XVIII century by reading James Boswell writings Life of Samuel Johnson (dr. Johnson's most accomplished biography) as well as his London Journal, learning British customs and habits of that era.
As a curious note, when searching Georgian furniture for the movie in London, British dealers stated that they were practically cleaned out of pre-regency stock furniture by American antique hunters, estimating that more Americans than British owned Georgian furniture, making difficult to obtain pieces for the movie at affordable price.
Two scientists (E. N. Tiratsoo and I. S. Hallows, of an enterprise related to nuclear energy development) advised the studio on how to built the atomical research station.
Actor Raymond Huntley, who plays Helens's fiancee played 1970's BBC series Upstairs & Downstairs family solicitor sir Geoffrey.
Although I would have changed the ending for a more suitable one. Since there is no mention to Helen in Standish diary, a brighter and more imaginative explanation could have been that in the end Peter took her with him when the storm comes. Since she is not afraid of the future but interested in it and willing to live it, and because at one point she is even able to watch it through Peter's eyes and gets more fascinated than afraid of (a much enhancing and positive scene in comparison to 1933 version), it would have suited perfectly, making a more accomplished ending.
A tv version was also filmed in 1949 starring Richard Greene and Grace Kelly.
Highly recommended.
Although this "historical" part of the story is not enough developed in favor of a love story, the film presents an interesting reflection about past times looking better than they really were. Authenticity is captured by accurated sets of XVIII London (reconstructed in London Denham studios) show a dirty, poor city with enormous social and class gaps. Even the "smell" of the poor city is noticed in a scene. In a nice scene Tyrone Power character goes to the poorer part of the city and can not stand the "smell" of it, putting some perfume drops in a handkerchief to avoid it. We also see the making of the matches, that did not in fact appear until XIX century. There is a bright scene referring to Georgians' lack of hygiene when everybody gets scandalized when knowing Power takes a bath averyday!
Excellent costumes designed by Margart Furse and splendid house interiors that bring a past century in all its splendor, the house becoming a character in its own right.
Filmed in England, Tyrone Power did a research on XVIII century by reading James Boswell writings Life of Samuel Johnson (dr. Johnson's most accomplished biography) as well as his London Journal, learning British customs and habits of that era.
As a curious note, when searching Georgian furniture for the movie in London, British dealers stated that they were practically cleaned out of pre-regency stock furniture by American antique hunters, estimating that more Americans than British owned Georgian furniture, making difficult to obtain pieces for the movie at affordable price.
Two scientists (E. N. Tiratsoo and I. S. Hallows, of an enterprise related to nuclear energy development) advised the studio on how to built the atomical research station.
Actor Raymond Huntley, who plays Helens's fiancee played 1970's BBC series Upstairs & Downstairs family solicitor sir Geoffrey.
Although I would have changed the ending for a more suitable one. Since there is no mention to Helen in Standish diary, a brighter and more imaginative explanation could have been that in the end Peter took her with him when the storm comes. Since she is not afraid of the future but interested in it and willing to live it, and because at one point she is even able to watch it through Peter's eyes and gets more fascinated than afraid of (a much enhancing and positive scene in comparison to 1933 version), it would have suited perfectly, making a more accomplished ending.
A tv version was also filmed in 1949 starring Richard Greene and Grace Kelly.
Highly recommended.