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Things to Come (1936)

Posted By: Someonelse
Things to Come (1936)

Things to Come (1936) [Colorized and the Original B&W versions]
DVD9 | ISO | NTSC 4:3 (720x480) | 01:31:48 and 01:31:51 | 7,90 Gb
Audio: English AC3 2.0 @ 192 Kbps | Subs: None | Cover + DVD Scan
Genre: Sci-Fi | UK

H. G. Wells was both the author of the original source – an essay, rather than an actual novel, concerning mankind's future – and the screenplay (in conjunction with Lajos Biro) of this epic science fiction tale, but it was producer Alexander Korda who framed the terms on which it is presented, vast and elegant, and visually striking. Opening in the year 1940, we see the next century of human history unfold, initially with amazing prescience. In Everytown (a stand-in for London) in 1940, the people prepare to celebrate Christmas amid rumors and rumblings of war – forward-thinking pacifists like John Cabal (Raymond Massey) try to raise concerns amid a populace either too fearful to think about the risks, or so pleased with business conditions that they're oblivious to the downside of war. And then it comes, devastating Everytown (in scenes shockingly close to the actual World War II London blitz, a half-decade away when these scenes were written) and the country, and finally the world. After 30 years, the war goes on, except that there are no more nations to fight it, only isolated petty fiefdoms ruled by brigand-like strongmen, running gangs organized like tiny armies.

IMDB

Things to Come (1936)

Not since Fritz Lang's METROPOLIS had there been a science fiction film of such epic scope and vision as Alexander Korda's production of H.G. Wells's 1933 treatise on the future, The Shape of Things to Come. Set in an urban metropolis known as Everytown, the film charts the course of a chilling future in which war, disease, and totalitarianism nearly destroy mankind.

Things to Come (1936)

THINGS TO COME is best remembered for its prescient depiction of massive aerial bombing, which was to change the face of war (and urban England) within three years of its release. Eager to have Wells's participation in the project, producer Korda approached the great author and offered him the chance to write the screenplay. Two years and four drafts later, with considerable help from Korda, writer Lajos Biro, and director William Menzies, the script was completed. Wells was allowed to wander around the set during production influencing every detail of the film from the costumes and set design to the blocking of the actors. Everything about THINGS TO COME, its strengths and its considerable weaknesses, may be directly attributed to Wells. While the epic scope of the film and its vision of the future are impressive, the human element is sorely lacking. The dialogue is very stilted and uninteresting: there is little interaction among characters and everyone makes speeches. It is a tribute to Massey's skill as an actor that the speeches play as well as they do.

Things to Come (1936)

Though the film fails as a human drama, it succeeds impressively in the scenes of devastation and reconstruction–a purely visual experience. Korda's brother Vincent was in charge of the production design and he plundered every new concept in architecture, industry, and design for the Everytown of 2036. Famed Hungarian futurist Laszlo Moholy-Nagy was hired to contribute his vision, but his designs were scrapped as too impractical. Wells, of course, had final approval on everything, but eventually he grew frustrated with the filmmaking process and admitted he knew little about making movies.

Things to Come (1936)

Menzies, one of the most influential art directors in the history of motion pictures, was the perfect choice to direct the film (though Lewis Milestone was signed on at one time). Though his skill in directing actors was negligible, Menzies possessed a true feel for design and knew how to photograph it. At Wells' insistence, Arthur Bliss was brought in before production started to compose the score based on the script and Wells' suggestions. (The author felt that the music should be incorporated into the filmmaking process from the beginning, instead of after the filming was completed.) The resulting music was thus wholly integrated with the visuals. Bliss's work on the film proved so popular with the critics and the public that his music for THINGS TO COME was the first movie score to be recorded commercially and sold in record stores.
Things to Come (1936)

Things to Come is a feast for the eyes and ears and the brain, too. Many of its special effects are still awe-inspiring, as is its sweeping symphonic score. For detractors, the main objection is that its acting is disjointed and its dialogue is a constant flow of 'author's message' speechifying. Ragged cuts made to the film after release created most of the bad continuity gaps that startle viewers. The lengthy speeches were mandated by author H. G. Wells, to present his philosophical ideas about socialism and futurism.

Things to Come (1936)

Visually, Things to Come has few peers in Science Fiction. William Cameron Menzies' designs are as massive as those in Fritz Lang's Metropolis and his cinematics benefit from more advanced editorial firepower. Sophisticated montages advance the story across years of war and turmoil. The opening musical montage of the Christmas jitters and the later air raid on Everytown are successful examples of Eisensteinian montage, juxtaposing images of 'peace' and 'war.' The montage of mining and manufacturing the futuristic city 'for Our Children's Children's Children' is a wonder of graphic industrial imagery. The score by Sir Arthur Bliss veers from martial tensions to airy reverence for a future undreamed.

Things to Come (1936)

Many scenes are meant to be symbolic and although some come off as stilted, others have undiminished power. The little girl who runs to the side of John Cabal and a downed enemy pilot is a strange pre-echo of the tot seen in the 1964 campaign ad run by President Johnson to defeat Goldwater. The body on the barbed wire that dissolves to only a few remaining tatters echoes back to a similar setup in Lewis Milestone's All Quiet on the Western Front. The Boss, who rants and raves about 'sovereignity' in 1970, was immediately equated with Richard Nixon by the group of college kids to whom I showed Things to Come – in 1970! And the all-powerful, all-potent figure of Oswald Cabal challenging the heavens that ends the movie has triple thematic echoes, back to the ending of Wells' book The Food of the Gods, and forward to both the conclusion of King Vidor's version of Ayn Rand's The Fountainhead, and by extension, to the Star Child of 2001: A Space Odyssey.
Things to Come (1936)

Extras:
Legend Films has released this films along with All-New Color Version, Fully Restored Black-and-White Version, an interview, a featurette, some text notes, original commercials, theatrical trailers plus some bonus trailers. Below is a closer look at these supplements.

First up we've got an iterview with Ray Harryhausen and runs for 3 minutes 49 seconds, in this clip the special effects master talks about the colorization process, on the film and seeing for the first time as well as comments on how excited he is in seeing his favorite scenes in color among other things.

Following that is "Colorization Process with Ray Harryhausen" a featurette that runs for 8 minutes 51 seconds, here Harryhausen takes us through the colorization process as the Legend Films crew also provide some background about the project and the steps taken to colorize this film. It's a neat look for those interested.

After that we've got a Ray Harryhausen filmography and biography and consists of 5 text pages of information pertaining to the man's career.

There are some Classic Sci-fi toy commercials, this is the same reel as seen on the "Missile to the Moon" (1958) DVD and it runs for 9 minutes 42 seconds and features classic ads for Ideal Toys that include the Astro Base play set, the Countdown Control Play Center, the Sky Sweeper Truck and Blow-up Globe as well as Robert the Robot and Remco's Yankee Doodle Dandy Rocket Test Center. These ads provide a cool look back at how space toys dominated the 50's and the ways in which toy companies advertised to children. As a toy collector myself these were particularly interesting and enjoyed watching them.

The disc also includes a Color theatrical trailer that runs for 1 minute 39 seconds as well as the original B&W theatrical trailer that runs for 4 minutes 8 seconds.

Rounding out the extras are a collection of bonus trailers for:

- "She" which runs for 1 minute 27 seconds.
- "Plan 9 From Outer Space" which runs for 1 minute 40 seconds.
- "Carnival of Souls" which runs for 2 minute 28 seconds.
- "House on Haunted Hill" which runs for 1 minute 41 seconds.
Things to Come (1936)

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