guilty pleasure movies

Do I watch this film in front of others? No.
Do I recommend it to others? No.
Do I praise it anywhere public? No.
Have I watched it many times? Oh yes.

There’s something to be said for that first love story that gets you as a kid. I was quite young when I first saw Somewhere in Time on TV–I have a faint memory of my mother recommending it, but whether I watched it with her, I don’t know. What I do know is that at whatever single-digit age I was when I first viewed this film, it became the MOST ROMANTIC STORY EVER for me.

A man traveling through time for a woman? A woman giving up big stardom for a man? Both of them finding their longer lives without each other worthless in comparison with the time they had together? I mean, what kid wouldn’t swoon? But now, as an adult far more comfortable expressing sarcasm than sentiment, I have to confess: I like it still.

I feel reluctant to share the plot, as anyone reading this probably already knows it, but here it goes: An elderly woman approaches playwright Richard Collier (Christopher Reeve) after a party celebrating his first college production. She gives him a pocket watch, saying, “Come back to me,” goes back home, and smiling, dies. In the meantime, Collier moves to Chicago to work on his plays. Eight years later, experiencing writer’s block, he books a room in the Grand Hotel on Mackinac Island for a night away. The island is near his former college, and its rules forbidding cars give the place an otherworldly quality.

Waiting for the hotel’s restaurant to open, he wanders into one of those little museum nooks in the hotel, documenting the history of the hotel. On the wall is a photo of a breathtaking woman.

Collier, intrigued and quickly becoming obsessed, asks Arthur (Bill Erwin), an elderly hotel employee who spent his youth at the hotel, about her. Collier learns that she was Elise McKenna, a stage star who put on a play in 1912 at the hotel theater. Collier goes to the library to discover more about McKenna and learns she became the old lady who gave him the pocket watch at his play. Through a visit to McKenna’s old caregiver (played by Teresa Wright!!), Collier discovers that the stage actress pored over a book about time travel written by his professor in college. Naturally, Collier hunts him down and discovers the professor once tried self-hypnosis into another time. The professor believes if you have no modern trappings around you, it’s possible to go back, however briefly. Collier, with an early 1900s suit and old coins, begins his attempt. Eventually, he’ll succeed, woo his love, be chased away by her oppressive manager, William Fawcett Robinson (Christopher Plummer), and finally get to be with her in time for her to take the photo that inspired his journey. What happens next, I won’t spoil, but trust me, it doesn’t get any less sentimental.

I found Christopher Reeve’s Richard Collier (what a name!) adorably awkward and smitten. I particularly enjoyed his affectionate treatment of the young version of hotel employee Arthur (Sean Hayden), and his refusal to be embarrassed even though he’s wearing a suit that (in McKenna’s day) is completely out of fashion. He also doesn’t seem to mind that he keeps sleeping in and dirtying up this suit, which must be disgusting by the time he unites with McKenna. But it’s that oblivious, single-minded attention to his lover that is so attractive in the film (though in real life, it would be alarming).

Jane Seymour’s Elise McKenna is stunning. The woman Seymour played was the person I wanted to be as a kid: an artist, accomplished, passionate. I wanted her hair, her clothes, her allure. For years afterward, Jane Seymour was my vision of unattainable beauty, and while my other 80s standards faded with time and/or growing sense and taste, that one didn’t. Because seriously? How ridiculously beautiful is that woman now, much less then?

And Christopher Reeve was so handsome, two years after Superman fame. Just check him out in his period duds:

If fact, it took this most recent viewing of the film for me to even note Christopher Plummer’s shockingly good looks, so distracted was I by the others.

Of course, the best parts of the film are the perfect music choices, just lovely enough to elevate the film: John Barry’s haunting score, and the The 18th variation of Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini.

I became intrigued about the novel on which the film was based, and learned the early stage actress Maude Adams and her manager/producer, Charles Frohman, were the loose inspiration for McKenna and her manager. Best known now for putting Peter Pan (with Adams in the lead) on the stage, the pair were tremendously successful. She never married. Frohman’s personality is captured sympathetically by Dustin Hoffman in Finding Neverland. The producer comes across as charming, friendly, and well loved in true accounts as well, not as the lonely, bitter figure Plummer portrays in the film; clearly, the cruel figure fit the film’s plot better (though I found myself sympathetic to his annoyance–if not his responses to–Collier’s puppyish behavior this time). I found the real producer’s final brave hours and words on the doomed Lusitania moving.

In more lighthearted research, I learned that the hotel in the film STILL has Somewhere in Time celebration weekends, that its fan club has a playful quiz on the film. For someone abashed about loving such a sentimental film, I admire this group’s openness. My embarrassment at liking it, however, does make sense too: there’s too much use of slow-mo, some stilted dialogue, and a disturbing approval of the lengths the couple goes to for love at the end of the film.

But Seymour’s sincerity in the role and Reeve’s earnestness and good humor made me love the movie again, despite my reservations. I decided, as before, to dispense with judgment and just live in this world a while. (As with Crouching Tiger, Hidden Dragon, when I just accepted the flying as a given.) There is some wistful magic to the couple’s commitment to one another; there is charm in the ease of Collier’s time travel, suggesting their love was destined. The narrative seems to borrow heavily from the film Laura (also with captivatingly sweet music, also with a picture of the heroine that haunts a man) and from Portrait of Jennie, which likewise gets longing right. The actors’ chemistry is perfect; they truly seem in love. Just check out these expressions as they look at one another.

It’s not surprising that the two remained lifelong friends.

And you know, this kind of nostalgic story is never going to lose its appeal. Witness the book and TV series Outlander, winning new audiences into enchantment at the idea of time-crossed lovers as I write.

This blog post is part of The Leap Day blogathon, hosted by Taking Up Room. I love this idea of celebrating February 29th by reflecting on time-confused/unexpected films. Check out the other entries here!