Warner Bros.’ Archive
Collection has released on Blu-ray TIME AFTER TIME, the 1979 time-traveling
romance/slasher thriller written and directed by Nicholas Meyer, and starring
Malcolm McDowell, David Warner, Marry Steenburgen, Charles Cioffi and Pattie
D’Arbanville. Casting the clever story idea of sci-fi writer H.G. Wells
pursuing a time-traveling Jack the Ripper with two well-respected (but hardly
A-list) British actors and a critically acclaimed but unknown up-and comer,
probably wasn’t going to set the box office on fire. However, TIME AFTER
TIME got some decent notices from the critics before it disappeared off screens,
and it has since achieved minor cult status. Warner’s new 2K restoration
of TIME AFTER TIME yields a crisp, clean 2.35:1 HD Blu transfer, while an old
cobbled-together commentary track featuring Meyer and McDowell, along with an
original trailer, are the only bonuses here.
London, 1893. Victorian writer H.G. Wells (Malcolm McDowell, A CLOCKWORK ORANGE,
CALIGULA) has invited his friends for dinner, in order to show them his latest—yet
untried—invention: a solar-powered time machine. Unfortunately, the evening
is ruined when the police arrive, looking for Jack the Ripper, who has just
sliced up another whore on the nearby cobblestones. When guest Dr. John Leslie
Stevenson’s (David Warner, STRAW DOGS, TRON) incriminating medical bag
is found in Wells’ hallway, he disappears into the writer’s cellar...and
right into 1979 America, thanks to the writer/inventor’s time machine.
When Wells realizes what has happened, the dedicated socialist/utopian feels
duty-bound to pursue the homicidal maniac, fearful that this monstrous killer
will run amok in what will surely be a future enlightened by no more war or
violence or ignorance or want. Wrong. Wells discovers that while a few of his
predictions came true—such as liberated women—others have not; the
world is still plagued by violence and war. Trying to track down his former
friend, Wells enlists the aid of pretty, independent bank teller Amy Robbins
(Mary Steenburgen, DEAD OF WINTER, BACK TO THE FUTURE III). Falling in love
with Amy, however, may be the downfall of Wells, when Stevenson, slaughtering
with abandon in his new hedonistic, amoral environment, targets her in order
to blackmail Wells for the key to the time machine.
A mistake in marketing on Warner Bros’ part—specifically: emphasizing
the Jack the Ripper angle in promotional materials and the trailer—seems
to be the accepted answer from the movie’s fans and its creative team
when trying to explain TIME AFTER TIME’s underwhelming performance at
the box office (sources vary as to how much it actually made at theaters, but
it looks like whatever the real number was, the movie didn’t return enough
rentals to the studio to cover production costs and advertising). However, that
kind of Monday morning quarterbacking always comes from the people who don’t
actually put up the money to make a movie (“Marketing killed my movie,”
is the oldest bitch in Hollywood). Given the fact that TIME AFTER TIME’s
mixed genre/mixed tone approach was a difficult sell to mainstream audiences
in the first place (do we flog it as comedy? A romance? A sci-fi time-traveling
outing? A slasher film?), with a comparatively minor historical lead character
(H.G. Wells) that only English majors and hard-core sci-fi fans would immediately
recognize, and with a cast of relative “unknowns” to the average
U.S. movie audience, it would have been bad business if WB hadn’t
pushed the movie’s most recognizable element: the Ripper angle (no doubt
the studio knew this was a tough sell—even with a small budget, why else
would they push for inappropriate but more bankable stars like Richard Dreyfuss,
Mick Jagger and Sally Field to headline?).
Frankly, a hands-off attitude concerning the slasher elements of TIME AFTER
TIME can be felt throughout the movie, as if scripter/director Meyer (STAR TREK
II: THE WRATH OF KHAN, THE DECEIVERS) felt it was a vaguely distasteful commercial
element that was unfortunately necessary to help finance his small, whimsical,
“socially aware” romantic comedy (the social commentary here gets
about as deep as socialist Wells disdainfully admitting, “Everyone needs
money,” a painfully obvious little jibe put over with a remarkably straight
face by extremely well-paid Hollywood screenwriter/director Nicholas Meyer).
Too bad for that, because Meyer’s opening Ripper kill is socko, with the
camera standing in for Warner as Meyer goes in super-tight on the victim, her
eyes going blank without a scream as the sound of her ripped petticoat fabric
substitutes for ripped flesh. It’s a good, scary opening to the movie,
with Meyer then getting Wells quickly and (relatively) neatly into the future
(the now-primitive optical effects have a solid, nostalgic 1960s Disney feel
to them, but I’m still not clear on which key in the time machine does
what specifically, and how it returns or doesn’t return in time, or how
the riders stays with it...or doesn’t). After these two quick, efficient
opening sequences, TIME AFTER TIME feels like it’s going to be a great
comic book ride of a summer popcorn movie, a sense reinforced once Wells hits
modern San Francisco, with delightful comedic effect. McDowell, who didn’t
do enough comedy in his career, has a Chaplin-esque gracefulness to his sturdy
Victorian “take-it-in-English-stride” wonderment at his new surroundings
(such as when he’s admiring the plastic “wood” of a McDonald’s
fast-food table), while Meyer expertly drops in one nicely-observed gag after
another, such as a funny BULLITT-inspired cab ride, and a priest who informs
a weary atheist Wells that it’s closing time at the church.
Unfortunately, TIME AFTER TIME becomes increasingly flabby as Meyer undermines
his own premise—homicidal Jack the Ripper is completely at home in an
amoral, unhinged America—by spending far too much genteel time on his
admittedly charming romance between McDowell and Steenburgen (they really do
have that old-timey Hollywood couple feel to their performances). Meyer has
a deft touch in the soft, gentle romantic scenes; however, he never actually
re-creates the hostile, violent world that supposedly welcomes Jack the Ripper.
When Wells first confronts his friend Jack in a hotel room, Meyer thinks a brief
montage of TV channel surfing is sufficient to horrify Wells and to back up
Jack’s own claim that modern America and the rest of the world is a cesspool
that won’t blink at his mayhem. Sadly, it’s a laughably inept montage,
including brief, inexplicable shots of football players (no one loved violent
sport more than the Victorians) and of all things, a Yosemite Sam cartoon (I
personally don’t want to live in a world where the paralyzingly funny
"Looney Tunes" are considered one of society’s ills).
Far too much time is spent on the warm, fuzzy romance scenes (and all the clunky
mechanics of Steenburgen coming around to believing Wells, and Wells trying
to convince the cops of his story), while the subsequent Ripper scenes are passed
off as mere afterthoughts (poor sexy Patti D'Arbanville has another career mishap
here, dispatched by Warner before we can even figure out who she is). We never
feel that this rather benign, even Capra-esque San Francisco is a den
of inequity, just waiting to embrace Jack and sadden an idealistic Wells. It’s
a critical mistake at the very core of TIME AFTER TIME, one that robs the movie
of any lasting impact, while simultaneously making the movie far too long and
drawn out by comparison with its nimble beginning (Meyer’s TV-sensibility
staging—square, straight-ahead and boring—quickly overshadows that
well-crafted opening sequence; I’ve never seen ‘Frisco look so boring
and generic. And non-threatening). By the wrap-up, Meyer has completely lost
it, delivering an obvious red herring twist and a pallid car chase in a failed
effort to goose up the proceedings, before characters are weeping and pleading
at a museum exhibit for a hurried, unsatisfying finale (almost two hours is
a long haul for Wells’ problem to just “disappear”). Mildly
entertaining yet facile the first time you see it, TIME AFTER TIME doesn’t
bear too close scrutiny the next time around.
The new digitally corrected and restored 2K scan of TIME AFTER TIME has resulted
in a squeaky clean AVC 1080p HD 2.35:1 widescreen Blu transfer that looks sharper
and better than all the other times I’ve seen the movie, in and out of
a theater. Meyer’s color palette is fairly bland (again, he idealizes
‘Frisco right into pastel triteness when his story actually demands that
the city look dark and seedy and threatening to Wells, with lurid, popping colors),
and the movie as a whole has a slight overcast look to it. However, fine image
detail is pretty good, and blacks are inky (in his commentary track, Meyer hails
some new lenses that Panavision gave him for depth of field...but a surprising
number of shots have fuzzy, indistinct edges and blur areas at the top and bottom).
The English DTS-HD MA 2.0 stereo track isn’t the most dynamic. It’s
still an improvement over previous releases, with a healthy, even bombastic
re-recording level—essential for TIME AFTER TIME’s single best element:
iconic master composer Miklos Rozsa’s full-bodied, marvelous score—and
a super-clean background. English subtitles are available. In addition to the
original trailer, the composite commentary track from the 2002 DVD release,
featuring Meyer and McDowell, is ported over here. It’s a strange track,
with Meyer’s commentary recorded first, and McDowell then almost commenting
on it, in addition to his own observations (there’s a weird moment where
Meyer says something, and McDowell says, “Uh huh,” as if he’s
agreeing...even though they’re clearing not speaking to each other in
conversation. Bizarre). The effect doesn’t work, but both give much needed
detail on the movie’s production. (Paul
Mavis)