Time Out of Mind

This American attempt to copy the style and contents of those British Gainsborough period pieces starring the likes of James Mason, Stewart Granger, Margaret Lockwood and Phyllis Calvert among others.. Only this time the coast of Maine is standing in for Cornwall, beautiful and wasted Ella Raines stands in for Margaret Lockwood, the not so memorable Robert Hutton is replacing either Mr Mason or Mr Granger and Phyllis Calvert is standing in for Phyllis Calvert in her first of only a few unsuccessful American movies. It's another period piece about a rich American family and a beloved servant who endears herself to them and the beautiful but nasty rich woman who marries into the family. The oxygen is supplied in support by the now forgotten stunning Miss Helena Carter of INVASION FROM MARS fame. She with her striking good looks and overly sophisticated voice adds a bit of nastiness and snobbery to the whole proceedings as that rich nasty woman. But the film just doesn't work.

There is really a lot I can say about this rather date film! Hmmmm.... Exactly WHERE should I begin??? Well...to BEGIN... from a technical standpoint there are a number of problems! This movie has not aged Particularly well! The Black and White photography really llaves a lot to be desired! Some sienes seemed washed out a little overexposed! Others seemed rather dark and rather poorly illuminated! Maybe there was no budget for adequate lighting???

Sound recording was also way under par!!! There is almost nothing in this producción that I can look at and say... "Well...OK... I have give them crédit for this!" ENJOY!?!?!?

Phyllis Calvert makes a great performance, and so does Ella Raines and actually all the actors, but not only Robert Hutton as the pianist but also the entire film and story seem slightly out of tune - nothing is quite convincing. It triers to be romantic and smotheringly beautiful, but the bell doesn't quite chime. It is difficult to pinpoint what is missing, because Robert Siodmak the director seldom missed a point which he pears tro do here. Maybe he was disgusted by the apparent purpose of the producers to copy the British Gainsborough style of romantic melodramas, as a copy never can match or equal the original. The music by Miklos Rosza is also exaggerated, overdoing pompous melodramatic effects, which adds to the general idea of artificial construction, or maybe the novel behind the film is responsible for this whole story making a stuffed up impression. Or maybe Robert Hutton just isn't convincing enough as a virtuoso pianist going down the drain in alcoholism and then getting up miraculously up again, but at least Phyllis Calvert is convincing as the rescuing angel, which performance is memorable.