The now classic Somewhere in Time was released in 1980 in the midst of a  Screen Actors Guild strike. Although the movie starred Christopher Reeve and Jane Seymore, they were barred from promoting the film due to the strike. Along with negative movie reviews at its opening, the film quickly sank in obscurity until its revival in later years on cable television.

This post is part of the Classic Movie Blog Association “Fun in the Sun” Blogathon, May 17-20, 2022. 

Somewhere in Time was directed for Universal Pictures by Jeannot Szwarc. It is based on Richard Matheson’s novel Bid Time Return. The late Matheson was a well known writer of fantasy and science fiction books and stories such as I Am Legend and The Omega Man.  He also wrote the teleplays for many episodes of the Twilight Zone –  including classics such as Nightmare at 20,000 Feet, Death Ship, and Nick of Time (the diner with the fortune-telling machine). The romantic Bid Time Return’s idea came to him when he saw a striking photograph of the early 1900s actress Maude Adams. He then spent several weeks at the 1887-built Hotel del Coronado and developed the plot for the story of a modern man crossing an emotional path with history based on such a photograph.

But rather than being filmed at the Hotel del Coronado, an old hotel modernized to keep up with tourism and conventions, the  Grand Hotel on the lakefront of Michigan’s Mackinac Island was chosen. This remote site on Lake Huron  did not even allow cars. Permission had to be secured for specific filming times when cars needed to be in the story.

Come back to me

The costume designer chosen for the film was Jean-Pierre  Dorléac.  He was well known for his Battlestar Galactica series (where he had previously worked with Jane Seymour) and the later Quantum Leap series. In preparing for designing Somewhere in Time, he suggested to the  producer and director that the costumes for women would be less confining in the pre-World-War I period than in the original story’s 1896 period when Richard and Elise meet back in time.  Producer Stephen Deutsch and director Jeannot Szwarc liked the idea and moved that setting to 1912. Dorléac  designed the men’s costumes as well, with Reeve’s period costume being purposefully out of date since he purchased it at an Antique Store in his preparations to go back in time. Dorléac was also able to add a very special touch to Jane Seymore’s costume. Knowing that he was searching for a special piece of jewelry, his friend Edith Head gifted him one of her own vintage pieces — a cut-crystal necklace that had belonged the stage actress Ethel Jackson and worn when she played The Merry Widow in 1907. Each stone was faceted differently and glistened brightly. Now that he had this key piece in hand he scouted a vintage clothing bazaar to find the dealer who would supply him with over $5000 in vintage lace.

Jane Seymore in JeanPierre Dorléac‘s performance dress costume with his Edith Head gifted cut-crystal vintage necklace

Christopher Plummer joined the cast as the manipulative manager of Elise/Jane Seymore. Susan French played the older Elise and Teresa Wright played her companion and aide.

The movie starts in contemporary time at a party where Reeve/Richard is celebrating the performance of his first play. In the crowd an elderly woman approaches him, hands him a pocket watch and whispers, “Come back to me.” She returns to her room at the Grand Hotel in Mackinac and listens to a record of Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini,” while reclining on her rocking chair.  Years later in Chicago after Richard and his girlfriend break-up, he drives off aimlessly but decides to visit the Grand Hotel. There he decides to spend the night, and visits the hotel’s history room, where he becomes entranced by the vintage photograph of a beautiful young woman. The bellhop informs him that she was Elise McKenna, a famous stage actress who had once starred in a play at the hotel’s theater in 1912. Richard is so smitten that he researches her at the local library, and even finds a photo of Elise as an older woman – the same woman who gave him the pocket watch, with her resounding words, “come back to me.” This sets Richard off on a mystical journey through time, endurance, and the multi-dimensional power of love.

John Barry composed the music, and selected the film’s  haunting theme music, the eighteenth variation of Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini.” This was not Barry’s typical film music, but both his father and mother had died within months of each other before he worked on Somewhere in Time, and this was an emotional time for him.

Somewhere in Time made the cover of the July 1980 edition of American Cinematographer, including an article.  The film’s cinematographer was Isidore Mankofsky. Film director Szwarc’s  concept of the film  was to have very different looks between the contemporary part of the film and the period era. Mankofsky stated that, “… in order to make the film work dramatically, we had to make sure that, in terms of visual presentation, these two periods would not look the same. The objective was to carry the audience back in time subtly, but with a definite difference in the ‘look’ from one era to the other.”  “We used Eastman color negative for the contemporary sequences, because it tends to be a little harder in the shadows and to have a crisper, more solid look to it. It seems to resolve better and to be sharper all the way through. Likewise, we decided to go with Fuji color negative for the period sequences because it seems to be a bit more pastel. It doesn’t appear to have quite the resolving power of the Kodak stock or the really black blacks.” Of course this was still in the days of using film rather than digital photography.

Szwarc and Mankofsky used Death in Venice as a guide, along with art books featuring paintings of Manet and Monet. Szwarc added, “For the sequences in the past we would use Fuji stock — which is a little bit softer and less contrasty — and go for wide-angle lenses and diopters and deep focus and a very pastel look. “We followed that concept through in everything — in set dressing, the colors of the walls of the sets, and also in wardrobe.”


In Richard Matheson’s story as in the movie, Richard Collier is given a condition for being able to go back in time to seek Elise. In the ancient tradition of mythology and the Greek myth of Orpheus and Eurydice,  the good looks of Orpheus and his enchanting music allowed him to pass the monster Cerberus and got Hades to permit him to take back his dead love Eurydice from the underworld – on condition that he not look back at her until they exit. Fearing he is being tricked, Orpheus looks back to see if Eurydice is really behind him as they near near the exit, at which point she is trapped there forever — and the fate of Orpheus is to later die of sorrow wanting to join her in death.  With the handsome Richard, good with words, he is warned when he goes back in time that he must not bring anything with him from his modern life.  At the very moment when he believes that he and Elise have found true love and can have a life together – he finds a modern coin in his pocket, and is thrown back into modern times, never able to return to Elise.

Somewhere in Time was not well well reviewed. It was a science-fiction movie without any science – a “Time Machine” without the machine or any monsters. It was low budget without any special effects. Then and now some consider it too sappy.  Yet the movie has its own fan club, INSITE, active since 1990. As a love story with wonderful period detail, it is as great as any, and Jane Seymore and Christopher Reeve actually fell in love while filming it. Somewhere in Time, fun in the all too short sun of a few days in 1912.



I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow–a tall, strong, heavy, nut-brown man, his tarry pigtail falling over the shoulder of his soiled blue coat, his hands ragged and scarred, with black, broken nails, and the sabre cut across one cheek, a dirty, livid white. I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards:

“Fifteen men on the dead man’s chest– Yo-ho-ho, and a bottle of rum!”

Thus begins the second paragraph of Robert Louis Stevenson’s Treasure Island, as it first appeared in The Young Folks Magazine as a serial, under the title “The Sea Cook,” in October, 1881. It would be published in book form as Treasure Island  by Cassel & Co., in London. So much for novels of the 1800s having lumbering starts. The story’s appeal to youths was recognized by the American publisher Charles Scribner’s Sons when it published the book in the U.S. in 1911, with dramatic illustrations by N.C. Wyeth.

N.C. Wyeth painting for Treasure Island, Charles Scribner’s Sons (Simon & Schuster)

It didn’t take long for the movie industry to recognize the cinematic appeal of Treasure Island, even if the only woman in the story was Jim Hawkins’ mother.  The Edison Company produced the first film version in 1912, with a Fox version produced in 1918 with a cast of children (now a lost film – see my post on films lost in fires here. A 1920 production of Treasure Island was made at Paramount, with Lon Chaney starring as Blind Pew and Charles Ogle playing Long John Silver.

M-G-M’s silver screen classic version from 1934 set the tone for Treasure Island from then on. It’s own visual style for pirates was heavily influenced by N.C. Wyeth and Howard Pyle’s Book of Pirates (1921). The film was directed by Victor Fleming and starred Jackie Cooper as Jim Hawkins, Lionel Barrymore as Billy Bones, Wallace Beery as Long John Silver, Lewis Stone as Capt. Smollett, Nigel Bruce as Squire Trelawney, and Otto Kruger as Dr. Livesay.  The film plot follows the novel fairly closely, whereby Billy Bones’ sea chest contains a treasure map, and Bones was right to be looking over his shoulder for Blind Pew, and then for Black Dog who comes to deliver the dreaded “black spot.” And then several men attack the Inn. But with a treasure map safely in their hands, Livesay, Trelawney, the young Hawkins, and Capt. Smollett  will use Smollett’s sloop to sail for Treasure Island in the Caribbean. They only need a crew, and harmless-looking, one-legged, sea-cook John Silver knows just the Bristol shipmates for the job.

Jackie Cooper at left with Wallace Beery in M-G-M’s Treasure Island, 1934

Stevenson’s novel and the first 1934 classic had firmly established pirate looks, lore, and vocabulary in popular culture before Walt Disney. Stevenson himself acknowledged borrowing seafaring and lost treasure lore and iconography in his novel. Long John Silver’s parrot was borrowed from Robinson Crusoe, published by Daniel Defoe in 1719. This was written as a novel but the first edition stated it was written by Crusoe and most people thought it was an autobiography. The story was about the shipwrecked protagonist who spent 28 years on an island off the coast of Venezuela and Trinidad. One of the characters in Treasure Island is Captain Flint, although he is is already deceased in the story and it is his buried treasure everyone is after. Stevenson also borrowed the visual imagery of a pointing skeleton from Edgar Allan Poe’s “The Gold Bug.” But Stevenson borrowed most heavily from The General History of the Pyrates, published in 1724 and written by the unknown Captain Charles Robinson. The book contains the embellished biographies of legendary pirates including Anne Bonny, Blackbeard (Edward Teach), Calico Jack Rackham, Charles Vane, Mary Read and William Kidd.

The colorful language and accents of pirates has become well known and imitated for decades — largely originating from the  book, film and later screen versions of Treasure Island. Right off the page we have the drunken Billy Bones singing sea songs and telling tales to frightened Inn guests about men walking the plank. Common seafaring men, and the English-speaking pirates that had come from them, had spent so much of their lives on ships that they used the words for parts of ships or weather for their own anatomy or condition.  Belay there! meaning to stop came from the belaying pin used to hold fast a rope. Abaft meant rear or aft of the ship or backwards. Yardarm was the wood spar where the sails hung from. In the British Navy, it was used on ships indicating , “you could drink once the sun was above the yardarm.” The word buccaneer is used in Treasure Island. Buccaneer refers to pirates that operated in or out of the Caribbean during the 17th and 18th centuries. Although the word origin is attributed to the wood racks used to smoke wild game (boucans or buccans) on Tortuga Island, the French word for a male goat is bouc, and a boucan is to make a racket or hubbub — the latter a good description for buccaneering.

The great actor Lionel Barrymore played Billy Bones in the 1934 Treasure Island. Although Wallace Beery played a fine sweet and sour Long John Silver, I think Barrymore could have done much more with the role. And at least he would not have tried to steal scenes from Jackie Cooper like Beery did. But alas, Barrymore’s arthritic hands did not allow him to maneuver himself on a crutch. The cast of this version included many M-G-M contract players, and comprised mostly Americans.  With the Disney version produced in 1950, that all changed. American studios commonly had to spend part of their U.K exhibition profits making movies in England, and this was the case with the Walt Disney studio.  Walt Disney had wanted to make Treasure Island for fifteen years as an animated feature, and he finally got the film rights from M-G-M. But the “frozen” funds changed his mind into making it a live-action feature — Disney’s first full live-action movie.  It was produced and filmed in English locations including  Bristol, Falmouth and the coast of Cornwall, as well as London’s Denham Studios. Disney’s cast were all from the U.K except for Bobby Driscoll who played Jim Hawkins. English actor Robert Newton played Long John Silver in the Disney 1950 version of Treasure Island and its sequel Long John Silver (or Long John Silver’s Return to Treasure Island, 1954)For the  July 1950  release of Treasure Island, the Disney Company did an extensive advertising campaign. A treasure hunt was launched involving treasure chests full of merchandise that could be opened by “keys” printed in some 350 local department stores and drug stores in 40 states.

Robert Newton’s use of a Cornish accent in these movies has come down as the standard pirate accent in subsequent pirate movies. As for Billy Bones’ old sea song that featured so prominently in the Stevenson text, this was now a Walt Disney movie, so new words were composed for the “Yo Ho” song, dropping “and a bottle of rum.” We wonder if this made an impression on Robert Newton, who died soon after making the Treasure Island sequel from alcoholism.

Bobby Driscoll and Robert Newton in Disney’s Treasure Island, 1950

Orson Welles had been an admirer of Stevenson’s book since his youth. He had wanted to make a version of it in the 1960s, and a version of it with him cast as Long John Silver was made in 1972. It was such a low-budget production that it is not worth watching.

Even in the days of Robert Louis Stevenson, writers of stories knew about “in media res.” This is Latin for start your plot in the middle of things. With Treasure Island, several characters are already out to get Billy Bones at the beginning of the story, and one of the lead characters is already dead. Leaving so much untold, however, left plenty of story material for a prequel to Treasure Island in the long-form cable television show Black Sails. Here we see John Silver when he had two legs, and Captain Flint when he was  a British Naval Officer and turning into a pirate. And Nassau in the Bahamas as an important town before it becomes a pirate haven.

Black Sails (2014-2017) is one of the best and most unique television series I’ve ever seen. That this should be set within a “pirate” story is surprising, but then The Sopranos took place within a mafia family. As with any movie or show, the writing and acting set within solid production values and direction will achieve high quality. But with Black Sails, individual characters were plumbed to the depths as they sought their freedom, destinies, redemption, and in some cases, revenge. And more, the characters developed over the four seasons to become very different persons from who they were at the beginning – those that survived anyway.

The ensemble cast was superb. IMDB should be consulted for all the actors, but most were from England, Australia, Canada, and farther away in Zimbabwe and South Africa. Toby Stephens (son of Maggy Smith) played Capt. Flint, Luke Arnold played John Silver, Hannah New played Eleanor Guthrie, Toby Schmitz played “Calico Jack” Rackham, Tom Hopper played Billy Bones, Clara Paget played Anne Bonny, and Zach McGowan played Capt. Charles Vane among many more.

Clara Paget as Anne Bonny at left and Toby Schmitz as Jack Rackham in Black Sails.

From the first episode the ways of the pirate life are made clear in dialogue and action: they are not paid wages and are bound to no one. If you join a crew you share in whatever spoils you take from Spanish or merchant ships. Capt. Flint has his own vision. Civilization is coming to the Caribbean, and to its rulers, people like them are monsters that should be eliminated. Only by uniting can they survive. John Silver is an opportunist just looking to stay alive. He just happened to find a page from a ship’s log book showing the route of the treasure ship the Urca de Lima, which Flint has been seeking for weeks. If only John Silver could read. After a dramatic battle to take over a merchant ship and a subsequent fight over who will be be the pirate captain,  part of the Flint crew land at Nassau where more pivotal characters are introduced.

The interaction of each character is fascinating to watch as each already has – or will develop – antagonisms. alliances, or even become mortal enemies. All of this set within the win or lose competition for treasure and power, and the coming attacks of Spanish or English armed forces – neither of which tolerated pirates. As in the case of the historic Brethren of the Coast, Captain Flint attempted to make a federation of pirates, inhabitants of Nassau, former slaves living in nearby islands, and whoever would join them in fighting British forces to keep Nassau a free pirate state. But in Black Sails, each strong-willed character is intent on fulfilling their own destiny.

While I can’t be sure what Paddy Nolan-Hall would have though of of all this, I’m sure she must have seen the M-G-M and Disney classic versions of Treasure Island.

This blog post is part of the Caftan Woman Blogathon honoring Patricia Nolan-Hall on May 6, 2020 by the Classic Movie Blog Association, The Lady’ Eve’s Reel Life and Another Old Movie Blog.