THINGS TO COME
UK, 1936, 113 minutes, Black and white.
Raymond Massey, Edward Chapman, Ralph Richardson, Margaretta Scott, Cedric Hardwicke, Sophie Stewart, Derrick de Marney, John Clements.
Directed by William Cameron Menzies.
Things to Come has become a science fiction classic. It was produced by Alexander Korda in the mid-'30s when he was building up London Films. After the initial success of The Private Life of Henry VIII, he moved into a wide range of films employing a talented group of designers, scriptwriters, musicians and actors. He established a thriving film industry in Britain up till the beginning of World War Two.
The film itself was written by H. G. Wells who supervised a great deal of the production with Alexander Korda. The direction was be designer William Cameron Menzies who is excellent with special effects but not so good with actors. The result is a visually impressive film but on the level of acting, it is stilted and rhetorical. The special effects are outstanding - the re-creation of London as lively city, blitzed, derelict city of the future. There are also creative sets for the future world. The film could stand some comparisons with much more sophisticated science fiction of later decades. Wells was, in his way, prophetic - especially with reference to World War Two. He anticipated a number of technological advances of the 20th. century. However, inevitably, he was off the track with many predictions - most especially that of man's landing on the moon.
Wells had made great impact for almost a half century prior to the film. With his philosophy, faith in man's progress and the advance of science, his enjoyment of science fiction, he had become a celebrity in England. Film versions of his novels included The Island of Lost Souls (from The Island of Dr. Moreau) and, after his death, there were to be versions of The Time Machine and such fiction as The Empire of the Ants and The Food of the Gods. There were also versions of The Invisible Man. Wells was himself to be portrayed by Malcolm Mc Dowall in the inventive Time After Time, in which Wells pursues Jack the Ripper into the San Francisco of the late '70s. Wells himself was to write the screenplay for only one other film, The Man Who Could Work Miracles (1937).
As an example of imaginative film-making in the '30s, Things to Come is excellent in showing the potential of cinema - and it is a pity that it seems so artificial in its presentation of human beings.
1. The reputation of H. G. Wells in his time? Background in science, literature. philosophy? His vision? His optimism in human progress? His man-centred faith? The quality of his imagination? His rhetoric and exhortation to his contemporaries? The impact of his literary work, especially his novels? His transferring his novel to the screen? His skills as screen writer, his limitations?
2. The production values: London Films and Alexander Korda's team? The establishing of a '30s British film industry? The prestige of Wells and his ideas, vision and writing? The importance of the sets, decor, design? The special effects? The skill of inventive film-making? The musical score? The stars and the cast?
3. The relevance of the film for the '30s? Its impact in terms of vision and warning? As seen in later decades? How dated does it seem? How much freshness? How much of the vision is still valid? Comparisons with later science fiction in terms of style, themes? The comparisons with what actually happened in the times specified by the screenplay?
4. The impact of the film for a '30s audience: London as Everytown? Hitler and the war threats? The blitzing of Everytown? The threat to civilisation? The long war? The demise of civilisation and an ugly future world? The seeming death of civilisation but germs of rebirth and progress? Men of faith and courage overcoming evil? A greater universal vision of peace? Space exploration? The development of the human spirit and optimism about united nations and peace? The film as warning and encouragement?
5. The Christmas setting and the establishing of detail of the '30s world and its ignoring the headlines of war? The impact of the collage of contrasts? The discussions about Christmas and the invasion? Passworthy and his anger about war and his righteous justice called down on the enemy? The eruption of war '30s style? The accuracy of the anticipation of World War Two?
6. The collage of warfare - by land, sea, air? The soldiers going to war and the pathos of the Passworthy boy and his drumming and then his death in the rubble? So many victims of war? The people of Everytown in panic? The disruption of life as known? The decades going by and the protraction of the war?
7. The '60s and the ugly future world? The symbol of the wandering sickness and individuals infecting others? The analogies with the Black Plague and the breakdown of civilisation? Human beings shooting one another? The Boss as a warlord and his ruthlessness in shooting victims? The scavenging and fear of the times? Yet the elimination of the plague and the possibility of building civilisation again?
8. 1970 and The Boss and his authority? The transferring of the atmosphere of the oriental warlord to the British setting? Roxana as the mistress of The Boss? The classic dress - with the overtones of mistress and moll? The Boss and his riding the horse and his exercise of authority? The contrast with Dr. Harding (and the memory of his youthful attitudes in the '40s)? Mary and her assisting her father? The concern about illness? Richard Gordon and his love for Mary? The death of his sister with the wandering sickness? The decor of the ruins and the attempts to establish civilisation? The ruins of the shops and the city squares etc.? Gordon and his work on planes? The futility of trying to build up again?
9. The film's focus on Caball - Raymond Massey's presence and style? His attitude in 1940? The clash with Passworthy about war? His concern and involvement in the war? The importance of the shooting down of the German pilot, the gas mask and the little girl, his giving the gun to the pilot to shoot himself? The sudden presence of the plane in Everytown 1970? His appearance, familiarity with Everytown? The visit to Dr. Harding and to Mary and Gordon? Their amazement about the plane? His going to The Boss after the arrest? The confrontation about Wings over the World? Caball's society with dignity, peace, the ability to fly? His imprisonment? The Boss holding Mary and her father as hostages? Gordon's escape? The irrational behaviour of The Boss and his tyranny? Roxana and her realisation of the times changing? The visit to Caball and later pleading with him? The build-up to the invasion and its visual impact? The sleeping gas and the overtones of the fairy tale where the inhabitants go to sleep and wake up in a new world? The irony of The Boss actually dying? The vision of a brave new world with order restored?
10. The transition to 2036 - a century after the making of the film? The visual impact of the city? The echoes of Fritz Lang's Metropolis - but with light and loftiness? The underground city full of light? The modernity of the metropolis? The details as rapid elevators, videos for history (with photography of New York)? The newer generation and the administration of the city? The younger Caball and Passworthy? Their memories of the past? The ambitions of the future and space exploration to the won? The rocket? Passworthy's hesitancy? His son wanting to go and taking Caball's daughter with him? The crisis with The otocopulous? The artist contrasting with the scientist? His leading the people in revolution? The giant size television screen for his exhortation and communication? His rousing the people to attack the rocket? The quick decisions for the take-off of the rocket? The vision of human beings going to the moon? The defeat of the rabblerouser?
11. The development of science? The future in the hands of the children? The build-up to Sir Arthur Bliss' score with the finale and choir? Its optimism at the time - the impact with the value of hindsight? The blend of prophecy, thought, imagination, sense of history? The film having the visual strength to communicate this vision and evoke a response from audiences? (The contrast with the pessimistic visions of, for example, Aldous Huxley and his ironic Brave New World, George Orwell and Animal Farm and 1984).
