Producer Samuel Goldwyn purchased the rights to British author Rumer Godden's novel 'A Fugue in Time' which served as the basis for this film. For those who don't know a fugue is defined as something introduced by one part, then successively taken up by others who develop the interweaving parts. This might apply to a musical composition or in this case a written work.
Godden has structured the story in parts, so that what we see introduced at the beginning is developed by other characters in subsequent parts. The structure is actually not as complex as it may sound. If you think about it, most daytime soap operas operate this way where semi-connected characters develop similar themes in separate arcs that refer back to each other. Here Godden separates some of the arcs by the passage of time.
The main character is the one played by Goldwyn contract player David Niven. This would be Niven's last Goldwyn film, having been under contract to the producer since the mid-1930s. It is not an ideal role for Niven, since he has to wear plenty of old-age makeup in the sequences set in the contemporary era of WWII; and he does not get the girl (played by Teresa Wright, another Goldwyn contractee).
Interestingly, Wright tangled with Goldwyn behind the scenes and refused to promote the picture when it was released in late 1948, so in early 1949, Goldwyn terminated her employment, which forced her to freelance with other companies.
Perhaps the reason Wright didn't feel so enthused about the project is because while she is second-billed and plays the romantic scenes set in the past with Niven, she is overshadowed by two female costars. One of them is Jayne Meadows who does a superb job playing Niven's controlling sister, scheming to keep him and Wright apart at every turn. Meadows gives such a convincing performance as a shrew one wonders why she wasn't nominated for an Oscar.
The other female star of the picture is Evelyn Keyes, on loan from Columbia. Keyes plays a grand niece of Niven in the modern-day scenes. She's an American relative of the family who's in England to help with the war effort, driving an ambulance. She's a porto-feminist, dedicated to her duties on the front lines, not interested in romantic nonsense with a man.
But despite her best efforts at resisting, she falls for a handsome soldier (Farley Granger) and is encouraged by Niven not to let love slip away. Like Meadows, Keyes gets several profound dramatic moments to play, especially at the end when she chases off after Granger during a catastrophic air raid. She finds him near a bridge just as it's bombed. What a memorable scene.
By comparison, Wright has no real powerful moments to play, since the romantic storyline involving her and Niven is fairly by the numbers. And after she thinks she has lost Niven, she just disappears.
Overall the film is a tad too long, at 100 minutes, when it easily could have been told in 85 to 90 minutes. But in this case, the slowness of the piece is helped by the striking cinematographic images provided by Gregg Toland (it was his last film, he died before it was released into theaters). Toland's chiaroscuro images are worth lingering on, so even if the plot isn't moving along as briskly as it might have, we are still rewarded for our patience.
Incidentally, the novel suggests that Wright's character is the illegitimate daughter of Nivens' and Meadows' father. In the film, she is an orphan ward taken into the family, and thus an adopted sister. But the novel implies she is a blood relative, which means her relationship with her 'brother' would be incestuous.
In that regard, we would have to root for the controlling sister (Meadows) who succeeds in breaking them up. But in the movie, we are supposed to root for the would-be lovers and feel hopeful that when Niven dies during the air raid at the end, perhaps he has been reunited in the afterlife with Wright and they're starting a new fugue.
Godden has structured the story in parts, so that what we see introduced at the beginning is developed by other characters in subsequent parts. The structure is actually not as complex as it may sound. If you think about it, most daytime soap operas operate this way where semi-connected characters develop similar themes in separate arcs that refer back to each other. Here Godden separates some of the arcs by the passage of time.
The main character is the one played by Goldwyn contract player David Niven. This would be Niven's last Goldwyn film, having been under contract to the producer since the mid-1930s. It is not an ideal role for Niven, since he has to wear plenty of old-age makeup in the sequences set in the contemporary era of WWII; and he does not get the girl (played by Teresa Wright, another Goldwyn contractee).
Interestingly, Wright tangled with Goldwyn behind the scenes and refused to promote the picture when it was released in late 1948, so in early 1949, Goldwyn terminated her employment, which forced her to freelance with other companies.
Perhaps the reason Wright didn't feel so enthused about the project is because while she is second-billed and plays the romantic scenes set in the past with Niven, she is overshadowed by two female costars. One of them is Jayne Meadows who does a superb job playing Niven's controlling sister, scheming to keep him and Wright apart at every turn. Meadows gives such a convincing performance as a shrew one wonders why she wasn't nominated for an Oscar.
The other female star of the picture is Evelyn Keyes, on loan from Columbia. Keyes plays a grand niece of Niven in the modern-day scenes. She's an American relative of the family who's in England to help with the war effort, driving an ambulance. She's a porto-feminist, dedicated to her duties on the front lines, not interested in romantic nonsense with a man.
But despite her best efforts at resisting, she falls for a handsome soldier (Farley Granger) and is encouraged by Niven not to let love slip away. Like Meadows, Keyes gets several profound dramatic moments to play, especially at the end when she chases off after Granger during a catastrophic air raid. She finds him near a bridge just as it's bombed. What a memorable scene.
By comparison, Wright has no real powerful moments to play, since the romantic storyline involving her and Niven is fairly by the numbers. And after she thinks she has lost Niven, she just disappears.
Overall the film is a tad too long, at 100 minutes, when it easily could have been told in 85 to 90 minutes. But in this case, the slowness of the piece is helped by the striking cinematographic images provided by Gregg Toland (it was his last film, he died before it was released into theaters). Toland's chiaroscuro images are worth lingering on, so even if the plot isn't moving along as briskly as it might have, we are still rewarded for our patience.
Incidentally, the novel suggests that Wright's character is the illegitimate daughter of Nivens' and Meadows' father. In the film, she is an orphan ward taken into the family, and thus an adopted sister. But the novel implies she is a blood relative, which means her relationship with her 'brother' would be incestuous.
In that regard, we would have to root for the controlling sister (Meadows) who succeeds in breaking them up. But in the movie, we are supposed to root for the would-be lovers and feel hopeful that when Niven dies during the air raid at the end, perhaps he has been reunited in the afterlife with Wright and they're starting a new fugue.
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