Repeat Performance" is a unique film noir that ventures into the realm of time-travel fantasy. The story begins similarly to "It's a Wonderful Life," with an unidentified heavenly narrator informing us that actress Sheila Page (Joan Leslie) is about to experience a celestial intervention due to a grave predicament. However, unlike the identifiable angels in the iconic film, the source of intervention in "Repeat Performance" remains enigmatic. Sheila finds herself in deep trouble after killing her husband, Barney (Louis Hayward), in their apartment on New Year's Eve.
Instead of turning to the police, Sheila seeks help from her producer, John Friday (Tom Conway). It is at this pivotal moment that Sheila's wish to relive the entire year is mysteriously granted. The sudden deus ex machina is unsatisfying due to its unexplained nature-it simply happens. Sheila finds herself at Friday's place, donning a new outfit, and soon realizes she has been transported back to the previous New Year's Eve.
While "Repeat Performance" eventually devolves into ordinary melodrama, the central premise remains intriguing, as viewers are left wondering how Sheila will prevent herself from killing Barney or, conversely, if she will be unable to change the fateful outcome.
Initially, Sheila's primary concern is ensuring that she avoids a trip to London, where she knows she will meet Paula Costello (Virginia Fields), a promising playwright. Sheila is aware that Paula will engage in an affair with Barney, ultimately leading to their relationship's demise and the fatal encounter the following New Year's Eve. To alter destiny, Sheila attempts to keep Barney by her side and takes him to Hollywood for several months. Despite Friday's insistence on casting her in Paula's play, Sheila smartly declines, recognizing that agreeing to such a request would only recreate the situation she aims to avoid. However, a weak plot point arises when Sheila agrees to be in the play after Friday reassures her that Paula will stay in London (unaware that Paula will change her mind and return to New York). Sheila's failure to anticipate Paula's potential return is necessary for the narrative to progress.
The melodrama intensifies in the film's second half. Barney, a once-promising playwright now plagued by writer's block, spirals into alcoholism and bitterness toward Sheila, who has risen to stardom. Despite Barney's mistreatment, Sheila believes that her unwavering love will transform him. When Barney becomes paralyzed after a drunken fall, Sheila continues to care for him, hoping he will change. Throughout his months of recuperation, Barney resents Sheila and refuses to speak to her, hiding the fact that he regains the ability to walk.
A significant subplot involves poet William (Richard Basehart), whom Sheila warns early on about getting involved with the wealthy socialite Mrs. Shaw (Natalie Schafter, known for her role on Gilligan's Island). Eventually, Shaw has William committed to an insane asylum, although the specific reasons for his mental decline remain unexplained. Sheila visits William at the asylum and comments that he was destined to escape on New Year's Eve.
Another weak plot point emerges when Sheila insists that Friday accompany her back to her apartment on New Year's Eve, fearing that Barney might harm her there. Initially, Friday is supposed to stay until the New Year, but inexplicably, Sheila allows him to leave after the housekeeper informs her that Barney left to see Paula, who boarded a ship bound for London. As expected, Paula provokes Barney's anger by blaming Sheila for their ruined relationship, driving him back to the apartment with the intent to kill her. With Friday's departure, events align with their original course.
The twist ending sees William arriving at the apartment and shooting Barney to death just as he attempts to kill Sheila. William delivers the film's most memorable line: "Destiny's a stubborn old girl. She doesn't like people interfering with her plans. Anyway, I don't think she cares about the pattern as long as the result is the same."
"Repeat Performance" would have benefitted from further exploration and explanation of its fantasy elements while toning down the melodrama. Louis Hayward's performance becomes increasingly over-the-top in the second half, as his character's deluded obsession with seeking revenge on Sheila becomes apparent. Joan Leslie delivers a convincing portrayal of the innocent protagonist, and the supporting cast prevents the film from sinking into complete obscurity. It is worth noting that the supporting players shine in contrast to the lackluster 1989 remake titled "Turn Back the Clock."
In summary, "Repeat Performance" stands out as a film noir that daringly incorporates time-travel fantasy. While the lack of explanation for the fantasy elements and the excessive melodrama hinders the film's impact, the central premise and the performances of the supporting cast make it worth watching. I would rate "Repeat Performance" a solid 6.0 out of 10.
Instead of turning to the police, Sheila seeks help from her producer, John Friday (Tom Conway). It is at this pivotal moment that Sheila's wish to relive the entire year is mysteriously granted. The sudden deus ex machina is unsatisfying due to its unexplained nature-it simply happens. Sheila finds herself at Friday's place, donning a new outfit, and soon realizes she has been transported back to the previous New Year's Eve.
While "Repeat Performance" eventually devolves into ordinary melodrama, the central premise remains intriguing, as viewers are left wondering how Sheila will prevent herself from killing Barney or, conversely, if she will be unable to change the fateful outcome.
Initially, Sheila's primary concern is ensuring that she avoids a trip to London, where she knows she will meet Paula Costello (Virginia Fields), a promising playwright. Sheila is aware that Paula will engage in an affair with Barney, ultimately leading to their relationship's demise and the fatal encounter the following New Year's Eve. To alter destiny, Sheila attempts to keep Barney by her side and takes him to Hollywood for several months. Despite Friday's insistence on casting her in Paula's play, Sheila smartly declines, recognizing that agreeing to such a request would only recreate the situation she aims to avoid. However, a weak plot point arises when Sheila agrees to be in the play after Friday reassures her that Paula will stay in London (unaware that Paula will change her mind and return to New York). Sheila's failure to anticipate Paula's potential return is necessary for the narrative to progress.
The melodrama intensifies in the film's second half. Barney, a once-promising playwright now plagued by writer's block, spirals into alcoholism and bitterness toward Sheila, who has risen to stardom. Despite Barney's mistreatment, Sheila believes that her unwavering love will transform him. When Barney becomes paralyzed after a drunken fall, Sheila continues to care for him, hoping he will change. Throughout his months of recuperation, Barney resents Sheila and refuses to speak to her, hiding the fact that he regains the ability to walk.
A significant subplot involves poet William (Richard Basehart), whom Sheila warns early on about getting involved with the wealthy socialite Mrs. Shaw (Natalie Schafter, known for her role on Gilligan's Island). Eventually, Shaw has William committed to an insane asylum, although the specific reasons for his mental decline remain unexplained. Sheila visits William at the asylum and comments that he was destined to escape on New Year's Eve.
Another weak plot point emerges when Sheila insists that Friday accompany her back to her apartment on New Year's Eve, fearing that Barney might harm her there. Initially, Friday is supposed to stay until the New Year, but inexplicably, Sheila allows him to leave after the housekeeper informs her that Barney left to see Paula, who boarded a ship bound for London. As expected, Paula provokes Barney's anger by blaming Sheila for their ruined relationship, driving him back to the apartment with the intent to kill her. With Friday's departure, events align with their original course.
The twist ending sees William arriving at the apartment and shooting Barney to death just as he attempts to kill Sheila. William delivers the film's most memorable line: "Destiny's a stubborn old girl. She doesn't like people interfering with her plans. Anyway, I don't think she cares about the pattern as long as the result is the same."
"Repeat Performance" would have benefitted from further exploration and explanation of its fantasy elements while toning down the melodrama. Louis Hayward's performance becomes increasingly over-the-top in the second half, as his character's deluded obsession with seeking revenge on Sheila becomes apparent. Joan Leslie delivers a convincing portrayal of the innocent protagonist, and the supporting cast prevents the film from sinking into complete obscurity. It is worth noting that the supporting players shine in contrast to the lackluster 1989 remake titled "Turn Back the Clock."
In summary, "Repeat Performance" stands out as a film noir that daringly incorporates time-travel fantasy. While the lack of explanation for the fantasy elements and the excessive melodrama hinders the film's impact, the central premise and the performances of the supporting cast make it worth watching. I would rate "Repeat Performance" a solid 6.0 out of 10.