Il caso Trafford

To my considerable annoyance, every time this movie has been shown on TV I haven't had my VCR ready to record. I've probably seen it about three or four times, on the proverbial rainy afternoons when little-regarded films are broadcast. It's been described by other IMDb reviewers as a sci-fi love story, and it certainly is that. But it's also a rare foray for a mainstream movie into counterfactual history. (In this respect it resembles novels such as Kingsley Amis's "The Alteration", Keith Roberts' "Pavane" and Robert Harris's "Fatherland" more than it resembles other movies.) Colin Bell, a physicist, finds himself in a parallel version of our world after an experiment that goes wrong. The Second World War has not happened, and in all kinds of subtle and intriguing ways society is less advanced. The course of his own life has been drastically different as well: he is a playwright and novelist, not a physicist; he attended Oxford (arts and humanities-based) not Cambridge (science-based); his best friend (played by Denholm Elliot) has not lost his arm in WW2; most significantly, while single in OUR world, he discovers that he is, albeit unfaithfully, married in this one.

I'll concede that the conclusion of the movie IS rushed, but the rest of it is so superbly executed that I'm prepared to overlook this. Of course not all of the implications of this bizarre scenario are investigated; how could they be in a 90-minute movie? I'd agree with the other IMDb reviewer, who remarked that OUR world is limned far less vividly than its doppelganger. But this is surely as it should be; after all, we KNOW our world.

The unanswered question that has nagged me every time I have seen the movie is: Where is the other Colin Trafford? Surely the arrogant, womanising drunk isn't on the loose in our world, wreaking havoc in the the domain of research physics? (I think we're meant to assume that he's temporarily inhabiting his double's comatose body in hospital.) What is highly ingenious, and could pass unnoticed, such is the subtlety of its handling, is the way in which, although we never actually see him, we infer from people's reactions exactly what sort of person the other Colin Trafford was. (I'm reminded of the scene in the original "Nutty Professor" in which Buddy Love is introduced; we see him, at first, entirely in terms of other people's reactions.)

We still seem to be too near to the 60s and 70s (psychologically if not chronologically) for people to overlook the now-quaint fashions. Come on, though! Even the 70s are thirty years ago now. We're not surprised to see people in Edwardian times, or the 1930s, dressed in radically different clothes. Why should it strike as odd (and funny) that people more than a generation ago inhabited a universe more different from ours than the one that physicist Colin Trafford finds himself in? Every time I read someone dismiss a movie because the fashions are dated I want to scream! Such a lack of historical perspective means that there's a very real danger that anyone much under 40 or so will not be able to observe the subtle, but very real, contrast between the "real" world in "Quest For Love", and its slightly more old-fashioned twin, and will thus miss out on an important layer of the movie's meaning.

I saw this film many years ago on a rainy Saturday afternoon. JOAN COLLINS is wonderful if you liked the "CITY ON THE EDGE OF FOREVER" episode of the original STAR TREK and don't need special effects to enjoy a great story you will like this film. Unfortunately I have not been able to find it on T.V. since. It is not available on video. If anyone out there has a copy they made from broadcast on T.V. or knows when it will be on again please e-mail me. I am also interested in any similar time travel/fantasy type movies and have a small collection I am willing to share. Thank you.

I caught this on a local movie channel thinking it would be pretty hokey, but I found myself completely captivated to this fascinating science fiction romance. Joan Collins gives an unexpectedly delicate performance devoid of her usually campy mannerisms, and competent actors like Denholm Elliott appear in supporting roles. Although the ending does seem a bit abrupt, it's not bad enough to leave a negative impression.

An English Physicist (Tom Bell), testing an experimental nuclear accelerator, is transported across a parallel universe into a more peaceful but less technically advanced world. The staid physicist discovers that, in this world, he is a morally decadent playwright; and, more importantly, the physicist meets the woman of his dreams: his wife! (Joan Collins) The physicist immediately sets out to win back the affections of his wife; and, when he returns to our universe, to locate her again.

The performances are uniformly excellent. Joan Collins is one of the few actresses who plays "saints" and "vixens" with equal aplomb. Special kudos to Tom Bell for being convincingly "smitten" without being sappy.

Ironically, the film is least convincing in "our universe." The initial exposition is hurried, as are the closing sequences of the film. Considering the largely excellent writing (story credited to John Wyndham), the most likely explanation is a rushed shooting schedule, due to budget constraints. This is also apparent with the music, which seems to belong in a different movie.

The lack of special effects actually embellishes the story, until the physicist's "return." This occurs with no forshadowing, and seems more a plot device than an integral part of the tale. Effects would have gone a long way toward covering the holes in the story. (i.e., Why is a scientist so convinced what happened to him was real? Since HE was so different in the parallel world, why doesn't he fear SHE will be different?)

Still, with the imaginative writing and excellent performances make this worthy viewing, IF you can find it.

Intriguing sci-fi love story about a physicist (Tom Bell) who ends up in a parallel universe after a scientific experiment goes awry. At first, the film is a wonderful fish-out-of-water tale as Bell slowly realizes his predicament and reluctantly assumes the identity of his parallel counterpart Colin Trafford (an arrogant, much-maligned playwright). However, the tale gets even more complicated when Bell falls in love with Trafford's flamboyantly unhappy wife Ottile (Joan Collins in a surprisingly subtle performance).

Although the film's narrative often seems like a discarded plot from the daytime soap Dark Shadows, this is an inventive, well-written and (more importantly) splendidly acted drama. It's definitely worth a look if you happen to come across it.