I have a theory about an aspect of effective films: they at some point take us to a place where the characters themselves are viewers or participants in a drama within a drama. In Cinema Paradiso, it's the characters going to the cinema, in "The Fifth Element" we see the blue Diva, in "The Adventures of Baron Munchausen," the players are actors, distracting the populace. In "Hamlet," the title character uses a play within a play to find out if his suspicions are accurate. In "Rules of the Game," the house comes alive with the theatrical shadow presentation. In "Dead Poets Society," the play (A midsummer Night's Dream) is integral to the development of the characters. I say all of this to point out a beautiful, startling moment in "Somewhere In Time," When Jane Seymour ad-libs on stage about the "man of her dreams." In this moment she is both our entertainer and Reeve's as well. She looks to the moment and enjoys the connection for us. This recognition of how art illuminates life is then able to spread out over the rest of the film.
"Somewhere in Time" is a gentle, sad, romantic trip to that little hotel theater by the lake...the one in all of our dreams. And Jane Seymour and Christopher Reeve bring all the dramas within the movie vividly alive. The music of John Barry tops it all off. To live is to love...and to cry.
"Somewhere in Time" is a gentle, sad, romantic trip to that little hotel theater by the lake...the one in all of our dreams. And Jane Seymour and Christopher Reeve bring all the dramas within the movie vividly alive. The music of John Barry tops it all off. To live is to love...and to cry.