Per sempre e un giorno ancora

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.

"Forever and a Day" is a wonderful human-interest story with a number of flashbacks that give a slice of English History in London from 1804 to 1941. The setting for this is during the German bombing of England early in World War II. It takes place in the basement bomb shelter of an historic house. The plot centers around the house, with the various members of two families that had intertwined, married and lived there. It began with the Admiral Eustace Trimble who built the house for his home in the country - a comfortable distance from the town of London. It ends with a descendant and current occupant, Lesley Trimble, offering to buy it from an unknown American distant relative, Gates Trimble Pomfret. He had come to England on business for his father's company, and as a last stop before his return to America, he was to sell the old Trimble house.

When the nightly German bombing raids throw the two together with many others from the neighborhood in the basement, Lesley tells Gates the story of the house and the five generations that lived there. With the roles of others in the bomb shelter, the flashbacks involve more than 100 actors, of which three dozen have significant roles. Many of these are prominent actors of the day - mostly British.

The idea for the movie came from Cedric Hardwicke, and it was based on an unpublished novel by British producer, director and writer, Robert Stevenson. It was intended as a tribute to the English people on the Homefront, during the first years of the war. It was to be a picture by British actors, writers and directors, for the British people. And, all of the cast were to donate their time for the effort without pay. Due to union restrictions, they all had to receive a minimum daily amount, but most turned it over for war relief. RKO Radio Pictures took the project on.

The film was originally planned to be released around mid-1941, but it wasn't finished until early 1943. A number of delays occurred during production, often times around schedules of actors who were working on other movies at the time. The movie was shot in six segments that covered 10 time periods. Even with that, some English actors intended for the film were never able to take part. Among those most prominent at the time who had to have replacements for intended roles were Greer Garson, Cary Grant and Ronald Colman. Some other prominent British actors who weren't in the film are Michael Wilding, Richard Attenborough, Alec Guinness, Laurence Olivier, John Mills, David Niven and Leslie Howard. These were all in military service or tied to war-related efforts at the time. Niven was on the ground with the Army, and Howard would die on June 1 when the commercial plane he was a passenger in was shot down by German fighters over the Bay of Biscay off the Atlantic Coast of France.

Of the 106 parts filmed for the movie, five were in scenes that wound up on the cutting room floor. Academy Award winner Charles Coburn was one of those who didn't make it in the final film. But six other major award-winning actors had very good parts, including Ray Milland, Edmund Gwenn, Victor McLaglen, Donald Crisp, Charles Laughton and Elsa Lanchester. Of the more than 100 actors with parts, 88 were from the U.K. - 73 from England, six from Ireland, thee each from Scotland and South Africa, two from Australia and one from New Zealand. The British made up 85% of the cast. The biggest rest of the cast came from the USA, with 14. Four other countries each had one actor in the picture - Argentina, France, Italy and Sweden.

The film also boasted about having 21 different writers and seven directors, including Stevenson. While the movie was released in England and the U.S. in early 1943, it was some time after the war that most other European countries were able to see the film. It did show in neutral Sweden yet that year - opening in late September; and in March 1944 it was shown in Portugal. But it wasn't shown in Italy until late August 1945, in France until late 1947, and in Belgium until early 1953. Interestingly, it was finally shown in German theaters in 1993.

All of the cast are very good for their parts. Since there are so many, it would be short shrift to name any more than the award winner for the film's lure. This is an interesting and endearing sort of film. It is a quaint look at modern English history (19th century to mid-20th). And, it is a fine picture of the Englanders who bore up under war-time horrors that few civilian populations have had to bear in war times. It was a fine morale booster at the time, not only to the British. And it remains a fine testimonial to those people who "kept the home fires burning" while fighting to extinguish the fires from the German bombings.

This remarkable film was largely the brainchild of Sir Cedric Hardwicke, who had the idea that British ex-patriates in Hollywood donate their services to make a stirring film with a strong nationalistic theme. He rounded up a lot of potential contributors including actors and directors and writers, but by the time he found a home for this at RKO, some of them like Cary Grant and Ronald Colman and Alfred Hitchcock were no longer available. Some Americans and Canadians pitched in their services and the result is the very entertaining tale of two distant cousins and and a house that survives into the blitz told in flashbacks as London is bombed. Hardwicke and Buster Keaton steal the show as two bumbling plumbers, but there are excellent contributions by Sir C. Aubrey Smith, Dame May Witty, Ida Lupino, Charles Laughton, Roland Young, Dame Gladys Cooper and others. Some material was deleted, perhaps because of the length and leisurely pace of the story-telling. For those who love Downton Abbey and Upstairs, Downstairs, this will appeal. It was a miracle it got made. Most of the contributors gave their time for the war effort. Worth a look.

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.

This was one unusual project especially for a relatively minor major studio like RKO. In Forever And A Day they assembled a whole bunch of players from the Hollywood British colony, imported a couple like Anna Neagle and Jessie Matthews who did their work across the pond and put them all in one film that was directed by a half dozen directors or so. That many hands in the creation usually is a recipe for disaster. Usually that spells incoherent, but in the case of Forever And A Day it's just ponderous.

Kent Smith and Ruth Warrick meet during the blitz, she owns a house he'd like to buy. It turns out he's distantly related to Warrick. The house was built by their common ancestor C. Aubrey Smith who was a retired admiral during the Napoleonic Wars. He built the place in an area that was rural then, London hadn't spread out that far. Warrick then starts telling the story, warts and all, of the house and the generations who lived there.

I'm amazed the film was as good as it was. Still the story is slow moving and definitely parts are better than the whole. The only villain in the piece is really Claude Rains who was an ancestor, but a conniving schemer who had his ward stolen from him by Ray Milland as he was about to make a profitable match for her. A lot of women really were chattel in 1804. Rains is never bad in anything.

Charles Laughton had a small role as a butler to one of the generations that lived in the house. Watch Laughton in this tiny role, it's one of the best examples of a consummate actor making something out of a nothing role.

Forever And A Day is interesting, but that's the best I can say for it. It was good wartime propaganda, it's not the kind of film to ever be remade. If it is, hopefully with one good director and one creative vision.