USA, 1979
112m
35mm film, Panavision, Metrocolor, 2.35:1
Dolby, English
An American science fiction film directed by Nicolas Meyer.
Plot Summary
Author H.G. Wells really does build his time machine only for it to stolen by a friend who, it turns out, is actually Jack the Ripper. When teh machine returns to its own time, Wells sets off to late-70s San Francisco where he tries to find the Ripper before he can kill anyone else. His attempts to find his quarry and adapt to Twentieth Century life are diverted when he unexpectedly falls in love…
Credits
Crew
Directed by: Nicolas Meyer
© 1979 Warner Bros Inc. and Orion Pictures Company
A Herb Jaffe production. Warner Brothers
Produced by: Herb Jaffe
Screenplay by: Nicholas Meyer
Story by: Karl Alexander & Steve Hayes
Director of Photography: Paul Lohmann
Edited by: Donn Cambern
Music by: Miklós Rózsa
Sound: Jerry Jost
Men’s Costumer: Sal Anthony
Women’s Costumer: Yvonne Kubis
Makeup Artist: Lynn Reynolds
Hair Stylist: Dione Taylor
Special Effects: Larry Fuentes, Jim Blount
Production Designed by: Edward C. Carfagno
Cast
Malcolm McDowell (H.G. Wells)
David Warner (Jack the Ripper)
Mary Steenburgen (Amy Robbins)
Charles Cioffi (Lieutenant Mitchell)
Joseph Maher (Adams)
Geraldine Baron (Carol)
Michael Evans (Sergeant)
James Garrett (Edwards)
Hilda Haynes (2nd nurse)
Leo Lewis (Richardson)
Laurie Main (Inspector Gregson)
Keith McConnell (Harding)
Clete Roberts (newscaster)
Clement St. George (Bobby)
Bob Shaw (bank officer)
Karin Mary Shea (Jenny)
Alternative Titles
Flucht in die Zukunft – Germany
L’uomo venuto dall’impossibile – Italy
Press
1979
Films in Review vol.30 no.9 (November 1979) pp.566-567
While the acting is competent, including some fine, sensitive portrayals, the characters aren’t. None of the major roles depict believable people. Wells is a hopeless romanticist; Jack is a psycho whose motivation is never revealed, the heroine is impulsively neurotic, and the main detective absurdly obsessive. Naturally, the sequence of events is hard to accept, but this is, after all, a fantasy. Camerawork, lighting, editing and music are a bit stilted but the overall production values are good. The frequent shock scenes are predictable but well handled and gore is pleasantly kept to a minimum. As Jack the Ripper movies go, it is highly entertaining and occasionally suspenseful. While the ending leaves a bit to be desired, Time After Time is nevertheless a fine bit of escapism. – from an illustrated review by Tom Rogers
1980
Monthly Film Bulletin vol.47 no.552 (January 1980) p.13
Since Herbert Ross made such a hash of Nicholas Meyer’s script (based on his own attractive novel) for The Seven-Per-Cent Solution, Meyer’s promotion to direction probably seemed a logical step. In the event, however, Time after Time repeats the hashery pretty much as before, with inadequate direction highlighting the script’s most glaring weaknesses. […] Meyer’s direction […] is all too ready to belabour the obvious. Exploring his brave new world, Wells is exposed ad nauseam to the wonders of modern architecture, cars, jets, the telephone, TV commercials, Hare Krishna enthusiasts, revolving restaurants and electric toothbrushes. “Don’t belong here?” Stevenson retorts in answer to Wells’ plea that he return to 1893, rapidly switching TV channels so that we are shown in quick succession (surprise, surprise) cartoon mayhem, terrorist hostages, thundering tanks, a pop singer smashing up the stage, etc. etc. As dismaying as anything in the film, in fact, is Meyer’s willingness to settle for cliche images. Joyously adopting San Francisco 1979 (“I belong here completely, utterly, I’m home!”), his Ripper of course gravitates to the sleazy neon lights and busty ads of the strip-club and sex show district. – from a review by Tom Milne
References
Periodicals
- Films in Review vol.30 no.9 (November 1979) pp.566-567 – illustrated review (by Tom Rogers)
- Monthly Film Bulletin vol.47 no.552 (January 1980) p.13 – credits, synopsis, review (by Tom Milne)
- New Musical Express 26 January 1980 p.29 – illustrated review (Silver screen: No Wells farrago by Harry George)
- Screen International no.223 (12-19 January 1980) p.15 – illustrated credits, review (The new films by Marjorie Bilbow)
- Screen International no.224 (19-26 January 1980) p.4 – letter (A hitch in ‘Time’ by Doug Raynes)
- Screen International no.225 (26 January-2 February 1980) p.4 – letter (Why can’t we be honest? from G.A. Flanxman)
Books
- The Aurum Film Encyclopedia: Science Fiction by Phil Hardy (ed) p.355
- Film Review 1980-81 by F. Maurice Speed (ed.) p.146 – credits, review
- Heroes, Monsters and Values: Science Fiction Films of the 1970s by Michael Berman and R.S. Dalviu (eds.) pp.v, 111
- Horror and Science Fiction Films II by Donald C. Willis p.399
- Horrorshows: The A-Z of Horror in Film, TV, Radio and Theatre by Gene Wright p.18 – note
- Sci-fi Chronicles by Guy Haley (ed.) pp.40
- Serial Killer Cinema: An Analytical Filmography by Robert Cetti pp.469-471
- Variety Science-Fiction Movies by Julian Brown (ed.) p.114 – credits, review
