Ahora y siempre

This is like a cavalcade travelling through history, commencing in Napoleonic times and ending in the Blitz. There are many poignant moments on the way, and the cast contains almost all the best names of the period. Among the most memorable ones are Charles Laughton as a drinking butler, Claude Rains as the only miserable tenant of the house ever, while the real moment of truth is in 1917 when the Americans enter the war. There is a very sensitive scene between Gladys Cooper and Merle Oberon that will stick on your mind for a long time, and Roland Young as the husband with Robert Coote as the blind veteran add to the impression of this scene. The second world war, which provides the beginning and end of the film, comes a little beside the point, since the main issue is the life that all the residents of the two families alternating in peopling the house, bestowed on the house and created a continuity, that not even the second world war could destroy. The message of the film is about continuity, how nothing can change what has been, which will go on forever even if only as memories, which provides quite some food for thought and afterthought. It's a very different film resembling almost none other, except in some ways Noel Coward's "Cavalcade" of 1931, which was something similar, ending in the first world war. This is in the same style and equally touching and profoundly human, which makes it a joy to behold and to remember.

This is the saga of a house handed down from generation to generation and the stories of each of the owners. The episodes range from good to better-than-good, but the value here is in the all-star cast; virtually any famous or near-famous British star from the 30's and 40's is in this picture, and even a few 'Yanks'. The nominal stars are Kent Smith and Ruth Warrick, she the present (1942) tenant. He stops in to sell it, and they swap stories about the different owners throughout the 19th and 20th centuries.

In all, seven directors and 21 writers are given credit for working on the film, as well as 79 actors and actresses. It is a "sentimental story with some amusing and affecting passages, but as the story is somewhat hackneyed it is well-served by some superb performances" (Bosley Crowther, NY Times, 3/43). But I think to arrive at the most satisfactory effect one should necessarily be from the Sceptered Isle. I am a 'Yank' and didn't get that effect, but it was still good entertainment. It was shown at the Columbus,O. Cinevent, 5/12.

This grand 1943 film once again proved that the British were at their best when they kept that stiff upper lip.

This magnificent piece tells the story of a house from its inception in England in 1804 until the German blitzkrieg circa 1940.

Nothing was spared in this provocative film regarding the cast. Practically everyone known in British films is in it and they all shine.

As two people are dickering in selling the house, its rich history is brought back in a series of flashbacks. We go back to the Napoleonic Era and trace the house to Queen Victoria's era, World War 1 and eventually the second world war.

The film provides plenty of heartbreak and sadness but is a definite testament of faith to the British people in the tradition of Mrs. Miniver.

In 1943, while the War still raged, an incredible assortment of British performers living in Hollywood got together to make a morale booster of a movie to top all the others. Joining in the production was a first class collection of producers, directors & writers. Although seldom viewed now, FOREVER AND A DAY is a wonderful film, absolutely not to be missed.

The story is of 140 years in the life of a London house, right up to the Blitz, and of the two families - sometimes feuding, sometimes merging - that called it home. Its endurance through history's onslaughts becomes a symbol of the British Nation's resolve to fight anything Hitler could throw against them.

A partial listing of the cast illustrates its richness: Claude Rains, Ida Lupino, Merle Oberon, Ray Milland, Charles Laughton, Elsa Lanchester, Dame May Whitty, Dame Gladys Cooper, Dame Anna Neagle, Sir Cedric Hardwicke, Sir C. Aubrey Smith & Buster Keaton. Together, with many others, they combine to serve up cracking good entertainment.

This is the first charity fundraiser film. All the stars, directors and writers offered their services for free with all profits from the box office going to charity. Although such a project, written by 'a committee' isn't going to produce an innovative classic, this isn't too bad. These were after all, top stars, top directors and top writers with their reputations to preserve so this would have to be a classy affair. Jessie Matthews for example only spent three days on this but because this was a prestigious affair and for a very worthy cause, she and everyone else put 100% effort into it.

The theme is: there'll always be an England so expect lots of blitz spirit, stiff upper lips and chirpy hat-doffing cockneys. It's told through the history of an old London house so is a perfect opportunity for virtually every English star to do a turn playing the sort of roles which made them famous. Everyone delivers the exact performance the audience would expect. C Aubrey Smith for example plays a compilation of every role he's ever played.

Each story can stand on their own as separate stories but they're nicely blended together. The Victor Saville section is a sweet little comic interlude which is characteristically very Victor Saville. He has his former star, Jessie Matthews alongside Charles Laughton both raising a little chuckle. We're more used to seeing Jessie Matthews a decade younger in her Gaumont days but she still looks stunning.

Getting all these English actors, directors and writers to put this together for free was a lovely idea. The resulting film is historically interesting but it's not a piece of entertainment. Unlike some other propaganda films, this one doesn't offer anything particular to a modern audience other than as a curiosity.