I’LL NEVER FORGET YOU/ THE HOUSE ON THE SQUARE.

US/UK, 1951, 92 minutes, Black and white, Colur.
Tyrone Power, Ann Blyth, Michael Rennie, Raymond Huntley, Felix Aylmer, Kathleen Byron.
Directed by Roy Baker.

I’ll Never Forget You or The House on Berkeley Square is from a play by John L Balderstone. The 1951 setting is invoked by the central characters being nuclear scientists and doing experiments. They are played by Michael Rennie and Tyrone Power. Power’s character is visiting from the United States where he had worked in the aftermath of the Manhattan project. He is reserved, taciturn, living in a mansion from the 18th century in Berkeley Square.
He has read the documents about the house and its inhabitants in 1784 and is determined to return there, thinking that time travel is not implausible and explaining images which give it some credibility. When he does return, he intimidates the family and other people because of his knowledge of what is to happen. He is continually indiscreet as to references about the future when talking about people like the Duchess of Devonshire (Keira Knightly in The Duchess), as if they had died. But one character was not in his documents, the younger sister, Helen, played by Anne Blyth. She is the only one who understands him and, looking into his eyes, foresees his future. He on the other hand wants to bring inventions back to the 18th century to improve life in London, especially its poverty and squalor. The end of the film leaves us wondering whether he did time travel simply or had a nervous breakdown imagining himself during the breakdown as the 18th century ancestor coming to present London.
Anne Blyth and Tyrone Power are Americans with a British supporting cast including Michael Rennie, Kathleen Byron as the Duchess of Devonshire, Felix Aylmer as the doctor, and Raymond Huntley as Helen’s suitor, Dennis Price as the rather profligate son.
Direction is by Roy Baker who as Roy Ward Baker directed a number of horror films but at this stage of his career directed American films like Don’t Bother to Knock and Inferno.

1. A romantic film of the early 1950s? the contemporary setting, the return to the 18th century? The popularity of this kind of costume romance?
2. A film of the early 1950s focusing on nuclear scientists, the aftermath of Hiroshima, Peter and his training in New Mexico? The experiments of the 1950s?
3. The use of black and white, the credits, the London sequences, the laboratories and experiments, the return to the mansion, the décor from the 18th century? The streets of London? The aftermath? The ending in the cemetery? The black and white as a framework for the colour sequences?
4. Peter and Roger and their experiments, the supervisors and their concern, the danger of the experiments? Peter, coming from the US, reticent, introspective? In need of a break? His taking Roger home, showing him the mansion, showing him the documents, his explanation of the past, the Reynolds’ portrait, his intention of going back into the past? The plausibility of his theories about past, present and future, the overview from a plane, the winding river… The past still existing? Roger and his reaction, his concern? Peter and his preparation, reading all the documents, knowing the history of the characters?
5. The date, outside the mansion, the storm, the lightning, his being trains ported to the 18th century, even to his clothes?
6. The servants and the family expecting him? His coming from America? The British attitude towards the war of revolution? Superiority?
7. Kate Pettigrew and the correspondence, the intended marriage, the Pettigrews in need of money, Peter and his wealth? Meeting Lady Anne, the son, his surprise and finding Helen and having no reference to her in the documents? Her suitor and his intensity?
8. Discussions with Kate, the almost-proposal? The interruption? His attraction towards Helen?
9. His being taken on tour by the son, the dirt and squalor of London? The gambling hall? His paying the debt?
10. His knowledge of what was to happen, the discussion about the gift of the cashmere shawl? Helen covering for him? His indications that he knew what was to happen? The effect on people, unnerved, suspicious, thinking him mad? Kate and her fears, going away? Helen’s suitor and his investigations, instigating the investigation, the Bow Street magistrate? The doctor?
11. His talking with Helen, her understanding, believing him, looking into his eyes and her description of the future world? His taking her to his laboratories, the electric light, the powerboat, his intentions of sharing this with the 18th century world? His explanation of the structure of the atom, the possibilities…?
12. The ball, people’s curiosity, Kate and her not dancing with Peter, his dancing with Helen? His meeting with the Duchess of Devonshire, his alarming her, speaking of her reputation as if she were dead? Confirming people’s suspicions?
13. The visit to the laboratories, the fears, smashing it? Coming to the house, confronting Peter, the document for him to be put in Bedlam?
14. His final talk to Helen, her promise that she would live, her gravestone, the Egyptian carving?
15. His return, the storm, his ordinary clothes? Roger and his concern, the explanation of caring for him, his nervous breakdown, destroying the experiments? Martha, Roger’s sister, looking the same as Helen? Peter thinking that he changed places with the 18th century Peter?
16. Audiences enjoying time travel? The possibility? Two people exchanging places? Or Peter having a breakdown?