Time Flies

1944
1 Std. 28 Min.

IMDb-BEWERTUNG

5,5/10

169

IHRE BEWERTUNG

Comedy Sci-Fi

Füge eine Handlung in deiner Sprache hinzuA minor music hall star uses a professor's time machine to travel back to the Elizabethan era.A minor music hall star uses a professor's time machine to travel back to the Elizabethan era.A minor music hall star uses a professor's time machine to travel back to the Elizabethan era.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

5,5/10

169

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Fotos

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Handlung

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Wissenswertes
This is probably the second (available) film that involves a time machine, the first being the little-known Hungarian film Szíriusz (1942). It was released the same year as Fiddlers Three (1944), another small British comedy about time travel.

Patzer
When the time ball first goes into space we see a clear view of the altimeter, labeled 'Height in ten thousand miles' and numbered from 1 to 10. Under the number 10 is written '1 million' (which the professor quotes) instead of the correct 100,000 miles (10x10,000).

Zitate
Tommy: That's the Professor's timeball, Susie. We can make it fly Back to Methuselah, or forward to the space of Things to Come.

Verbindungen
References Was kommen wird (1936)

Soundtracks
I'm on a Cloud That's Silver Lined
Written by Noel Gay and Ralph T. Butler (uncredited)
Sung by Evelyn Dall

Benutzerrezensionen12

Rezension

Ausgewählte Rezension

7/10

MacAndrew's Machine

A quirky attempt at science fiction by Gainsborough Pictures. The mind boggles at what Goebbels must have made of this piece of fanciful wartime escapism if he ever saw it!

A zany time travel comedy that begins and ends in New York (hence the 'topical' jokes about Roosevelt and Walter Winchell) concerning a time machine that takes Tommy Handley back to the court of Queen Elizabeth; like a 'Dr Who' adventure played for laughs.

Referred to by it's inventor Felix Aylmer as 'The Time Ball', the time machine itself - with the possible exception of marking Graham Moffatt & Moore Marriott's final screen appearance together - is the most memorable aspect of the film (presumably the work of veteran art director John Bryan), whose equivalent it functions as of the Tardis. Resembling a flying bathysphere; the few effects shots of it in flight being obviously cheap but nevertheless satisfying.