Somewhere In Time


1h 44m 1980

Brief Synopsis

A playwright travels into the past to meet the actress he's obsessed with.

Film Details

Also Known As
Någonstans i tiden, Quelque part dans le temps
MPAA Rating
Genre
Romance
Fantasy
Period
Adaptation
Sci-Fi
Release Date
1980

Technical Specs

Duration
1h 44m

Synopsis

A young playwright is captivated by the portrait of a lovely stage actress from the turn of the century. Using self-hypnosis, he travels back in time to find her. The two fall in love, but learn that they have differences other than the years of their birth that they need to overcome.

Crew

Charlie Ajar Jr.

Projectionist

Norman Ash

Electrician

John Barry

Music Conductor

John Barry

Music

Tom Bartholomew

Construction

Tom Battaglia

Transportation Captain

Susan Bender

Assistant Location Manager

Earl Betts

Construction

Steve Bickel

Associate Producer

Mary Ann Biddle

Set Decorator

Burt Bluestein

Assistant Director

Ulla Bourne

Script Supervisor

Valerie J Bresee

Assistant

Russ Buckens

Transportation

Alfred Budniak

Electrician

Christopher Burian-mohr

Set Designer

Sal Camacho

Assistant Camera Operator

Daniel C Chichester

Costumes

Joe Collins

Key Grip

Rocky D'amico

Transportation

Donald E. Dahlquist

Electrician

Dan Dewey

Production Assistant

Jean-pierre Dorleac

Costume Designer

Martin Emert

On-Set Dresser

Jack Faggard

Special Effects

Bert Fancher

Grip

Richard Fields

Assistant Editor

Ed Fitzgerald

On-Set Dresser

Jeff Gourson

Editor

James Haboush

Grip

Greg A Hall

Costumes

Kenneth Hall

Music Editor

John Hammond

Craft Service

Susan J Harris

Other

Andy Hawkes

Construction

Steve Hellerstein

Transportation Captain

Rod Helzer

Grip

Roger Heman

Sound

Sandra Henderson

Hair

Jim Henry

Color Timer

Rick Hill

Transportation

Jake Jarrell

Gaffer

Douglas Keenan

Props

Charles L King

Sound

Seymour Klate

Production Designer

Grace Kuhn

Costumes

Willy Kupahu

Auditor

James Leckelt

Sound

Britt Lomond

Unit Production Manager

Earl Madery

Sound

Mike Mandel

Grip

Isidore Mankofsky

Dp/Cinematographer

Isidore Mankofsky

Director Of Photography

William Masten

Assistant Camera Operator

Richard B. Matheson

Screenplay

Richard B. Matheson

Source Material (From Novel)

Richard Mazzotti

On-Set Dresser

Lawren Mcdonald

Transportation

Vince Melandri

Dialogue Editor

Gregg R Mitchell

Hair

Gerald Moss

Property Master

Chris O'neil

Electrician

Michael Orefice

Electrician

Donald J Piel

Camera Operator

Donnie Puga

Construction

Sergei Rachmaninoff

Music

Phil Read

Construction

Paul Sanchez

Makeup

Lorraine Senna

Assistant Director

Robert Shaw

Construction

Jennifer Shull

Casting

Virginia Siman

Other

Stephen Simon

Producer

Rex Slinkard

Sound

Phil Sloane

Electrician

Brian Smith

Grip

Doug Sofio

Construction

Dwight Solander

Construction

Emidgio Sosa-chavez

On-Set Dresser

John Stewart

Construction

Bob Stout

On-Set Dresser

Roger Sword

Sound Effects Editor

John Unsinn

Boom Operator

John Verna

On-Set Dresser

Opal Vils

Costumes

Dan Wallin

Sound

Fred White

Electrician

Melinda Wickman

Photography

Roger Williams

Song Performer

Jack Page Wilson

Makeup

Woody Woodworth

Construction

Film Details

Also Known As
Någonstans i tiden, Quelque part dans le temps
MPAA Rating
Genre
Romance
Fantasy
Period
Adaptation
Sci-Fi
Release Date
1980

Technical Specs

Duration
1h 44m

Award Nominations

Best Costume Design

1980
Jean-Pierre Dorleac

Articles

Teresa Wright (1918-2005)


Teresa Wright, a talented, Oscar&-winning leading lady of the '40s, and in later life, a versatile character player, died on March 6 at a New Haven, Connecticut hospital of a heart attack. She was 86.

She was born Muriel Teresa Wright in New York City on October 27, 1918. She showed a keen interest in acting in grade school, and by the time she was 19, she made her Broadway debut in Thorton Wilder's Our Town (1938); the following year she scored a hit as Mary, the weeping ingénue in Life with Father (1939). The word was out that New York had a superb young acting talent on hand, and Samuel Goldwyn soon brought her to Hollywood for William Wyler's adaptation of Lillian Hellman's The Little Foxes (1941). She scored an Oscar® nomination for her film debut as Regina Giddens' (Bette Davis), honorable daughter, Alexandria.

She maintained her amazing momentum by scoring two Oscar® nominations the following year for her next two films: as Carol Miniver in Wyler's Mrs. Miniver (Best Supporting Actress Category), and as Lou Gehrig's (Gary Cooper) faithful wife Ellie in Pride of the Yankees (Best Actress Category), and won the Oscar for Miniver. Yet for most fans of Wright's work, her finest hour remains her perfectly modulated performance as young Charlie in Alfred Hitchcock's masterpiece, Shadow of a Doubt (1943). Wright's performance as the self-effacing, impressionable young niece who gradually realizes that her beloved uncle (Joseph Cotton) may have murdered several widows is effective since Wright's air of observation, subtly turns from idol gazing, to a watchful air of caution as the facts slowly being to unravel. 60 years on, fans of Hitchcock still acclaim Wright's performance as an integral part of the film's classic status.

She proved her talents in comedy with the delightful Casanova Brown (1944), but then saw her schedule slow down due to domesticity. After she married screenwriter Niven Busch in 1942, she gave birth to son, Niven Jr., in 1944, and took two years off to look after her family. She soon returned to film with another Wyler project, the Oscar®-winning, post war drama, The Best Years of Our Lives (1946), playing Fredric March's level-headed daughter, Peggy, she again took some time off after giving birth to her daughter, Mary in 1947. On her second attempt to return to the big screen, Wright found her popularity on the wane. Her wholesome image was in sharp contrast of the tougher, more modern women in post-war Hollywood, and her stubborn refusal to pose for any swimsuit or cheesecake photos to alter her image led to her release from Sam Goldwyn's contract.

As a freelance actress, Wright still found some good roles, notably as a young widow in the thriller scripted by her husband, in The Capture; and as a faithful fiancée trying to help Marlin Brandon deal with his amputation in Stanley Kramer's The Men (both 1950). Yet within a few years, she was playing middle-aged mothers in film like The Actress (1953), and The Track of the Cat (1954), even though she was still in her early '30s. By the mid-50s she found work in live television, where she could apply her stage training, in a number of acclaimed shows: Playhouse 90, General Electric Theater, Four Star Playhouse, and The United States Steel Hour.

She took a break from acting when she married her second husband, the playwright Robert Anderson in 1959, (she had divorced her first husband, Busch, in 1952) and was out of the public eye for several decades, save for an isolated theater appearance. When she did return, it was intermittent, but she was always worth watching. In James Ivory's Roseland (1977), a portrait of the New York dancehall; she was poignant as a talkative widow obsessed with her late husband; and as an enigmatic old actress in Somewhere in Time, she nearly stole the picture from leads, Christopher Reeve and Jayne Seymour. She was still active in the '90s, appearing a few hit shows: Murder, She Wrote, Picket Fences; and a final film role in John Grisham's The Rainmaker (1997). She is survived by her son, Niven; daughter, Mary; and two grandchildren.

by Michael T. Toole
Teresa Wright (1918-2005)

Teresa Wright (1918-2005)

Teresa Wright, a talented, Oscar&-winning leading lady of the '40s, and in later life, a versatile character player, died on March 6 at a New Haven, Connecticut hospital of a heart attack. She was 86. She was born Muriel Teresa Wright in New York City on October 27, 1918. She showed a keen interest in acting in grade school, and by the time she was 19, she made her Broadway debut in Thorton Wilder's Our Town (1938); the following year she scored a hit as Mary, the weeping ingénue in Life with Father (1939). The word was out that New York had a superb young acting talent on hand, and Samuel Goldwyn soon brought her to Hollywood for William Wyler's adaptation of Lillian Hellman's The Little Foxes (1941). She scored an Oscar® nomination for her film debut as Regina Giddens' (Bette Davis), honorable daughter, Alexandria. She maintained her amazing momentum by scoring two Oscar® nominations the following year for her next two films: as Carol Miniver in Wyler's Mrs. Miniver (Best Supporting Actress Category), and as Lou Gehrig's (Gary Cooper) faithful wife Ellie in Pride of the Yankees (Best Actress Category), and won the Oscar for Miniver. Yet for most fans of Wright's work, her finest hour remains her perfectly modulated performance as young Charlie in Alfred Hitchcock's masterpiece, Shadow of a Doubt (1943). Wright's performance as the self-effacing, impressionable young niece who gradually realizes that her beloved uncle (Joseph Cotton) may have murdered several widows is effective since Wright's air of observation, subtly turns from idol gazing, to a watchful air of caution as the facts slowly being to unravel. 60 years on, fans of Hitchcock still acclaim Wright's performance as an integral part of the film's classic status. She proved her talents in comedy with the delightful Casanova Brown (1944), but then saw her schedule slow down due to domesticity. After she married screenwriter Niven Busch in 1942, she gave birth to son, Niven Jr., in 1944, and took two years off to look after her family. She soon returned to film with another Wyler project, the Oscar®-winning, post war drama, The Best Years of Our Lives (1946), playing Fredric March's level-headed daughter, Peggy, she again took some time off after giving birth to her daughter, Mary in 1947. On her second attempt to return to the big screen, Wright found her popularity on the wane. Her wholesome image was in sharp contrast of the tougher, more modern women in post-war Hollywood, and her stubborn refusal to pose for any swimsuit or cheesecake photos to alter her image led to her release from Sam Goldwyn's contract. As a freelance actress, Wright still found some good roles, notably as a young widow in the thriller scripted by her husband, in The Capture; and as a faithful fiancée trying to help Marlin Brandon deal with his amputation in Stanley Kramer's The Men (both 1950). Yet within a few years, she was playing middle-aged mothers in film like The Actress (1953), and The Track of the Cat (1954), even though she was still in her early '30s. By the mid-50s she found work in live television, where she could apply her stage training, in a number of acclaimed shows: Playhouse 90, General Electric Theater, Four Star Playhouse, and The United States Steel Hour. She took a break from acting when she married her second husband, the playwright Robert Anderson in 1959, (she had divorced her first husband, Busch, in 1952) and was out of the public eye for several decades, save for an isolated theater appearance. When she did return, it was intermittent, but she was always worth watching. In James Ivory's Roseland (1977), a portrait of the New York dancehall; she was poignant as a talkative widow obsessed with her late husband; and as an enigmatic old actress in Somewhere in Time, she nearly stole the picture from leads, Christopher Reeve and Jayne Seymour. She was still active in the '90s, appearing a few hit shows: Murder, She Wrote, Picket Fences; and a final film role in John Grisham's The Rainmaker (1997). She is survived by her son, Niven; daughter, Mary; and two grandchildren. by Michael T. Toole

Somewhere in Time


Never underestimate the power of cable television. This is, perhaps, the greatest lesson the film Somewhere in Time (1980) taught the film industry. The story of a man in the 1980s traveling back in time to be with his true love in the 1910s was not one that generated much interest among critics or audiences during its release in 1980, and it promptly flopped. But the film was fated to have a second life, as the cast and crew would come to find out over the next twenty years.

Christopher Reeve was riding high off the success of Superman (1978) in the late 70s and had his pick of countless film roles for his sophomore effort. Among the flicks he declined were Body Heat (1981), The World According to Garp (1982), and The Bounty (1984) - William Hurt, John Lithgow, and Mel Gibson, respectively, got his leftovers. Reeve, however, was looking for a more sensitive and romantic leading man angle, a role he would find in the character of struggling playwright Richard Collier in Somewhere in Time. He signed on to the project, declaring the story to be "an absolutely honest attempt to create an old-fashioned romance. It's not based on sex or X-rated bedroom scenes." Piety may have been on his mind; at the time, Reeve was receiving some harassment from the press for living with his girlfriend in London and having a child out of wedlock. He would soon travel to Mackinac Island, Michigan, to begin the shooting of the film.

The story of Somewhere in Time is based on Bid Time Return, a novel by Richard Matheson. Matheson, best known as a horror and fantasy writer, also authored The Incredible Shrinking Man (1957), I am Legend (1954), which became the basis for two films (The Last Man on Earth (1964) and The Omega Man, 1971), and, more recently, the screenplay for What Dreams May Come (1998). Matheson was inspired by a chance stop at the opera house in Virginia City, Nevada, during a family trip. A photo of the early 20th century stage actress Maude Adams stirred him to write about a man similarly moved by an old photograph. Despite this story, there are some discrepancies about the movie's true origins as noted by the striking parallels between Bid Time Return and another novel, Time and Again, written five years earlier by Jack Finney. The author of the second book even receives a homage in the film; the professor Collier consults about time travel is named Finney.

In the novel Somewhere in Time, Matheson set the action at the Coronado Hotel in San Diego; due to such obstructions as television antennas, the film's producers looked for an alternate location. They found it on Mackinac Island at the Grand Hotel; the hotel was built in 1887, and the owners reportedly offered the use of the hotel and surrounding grounds for free to the production in exchange for a favorable treatment in the film. Mackinac Island itself fit in very well with the themes of the film; no automobiles are permitted, and the island relies instead on horses or bicycles. The cast and crew of Somewhere in Time each had their own numbered bike, although the use of one vehicle was negotiated successfully for the purposes of transporting equipment only. As Reeve explains in his 1998 biography, Still Me, "We began filming in late May 1979, and the location quickly cast a spell on our entire company. The real world fell away as the story and the setting took hold of us. I've rarely worked on a production that was so relaxed and harmonious. Even the hard-boiled Teamsters and grips from Chicago succumbed to the charms of the island and the mellow atmosphere on the set." What the producers didn't know was that Reeve, an avid pilot, had a small plane hidden on another part of the island; on days off, he, Jane Seymour, and other members of the cast would jet off for secret day trips.

Although Reeve found himself mobbed on the island by Superman-crazed fans (who eventually left him alone after he struck a deal to meet and greet them after the shoot), the rest of the cast quietly went about their business uninterrupted. Jane Seymour, best known up to this point as a Bond girl (from Live and Let Die , 1973), was cast as Elise McKenna, the enchanting young beauty who provides the motivation for Collier's time traveling. When she first met Reeve, she discovered he had been training for the part with a Method acting coach who recommended that Reeve practice writing daily since he was playing an author. Seymour was amused but pointed out to the actor that his character has writer's block, recalling that Reeve "got this funny look on his face; kind of startled, you know? 'You're absolutely right,' he said. 'Let's go have dinner.' And that was the end of the writing." Needless to say, Reeve and Seymour got along famously and generated an undeniable onscreen chemistry together, but their ballroom dancing was another matter; guess who was dubbed "Superfoot" after stepping on his co-star's toes one too many times?

As for the supporting players, Christopher Plummer was featured as McKenna's ambitious and overly protective manager; the Canadian actor was immortalized as the Baron Von Trapp in The Sound of Music (1965), while recently appearing in such fare as The Insider (1999), A Beautiful Mind (2001) and Nicholas Nickleby (2002). Teresa Wright appears as a previous caretaker for the aging version of McKenna. Wright scored a hat trick with her first three film appearances - The Little Foxes (1941), The Pride of the Yankees (1942), and Mrs. Miniver (1942) all earned her Oscar nominations, the last being a Best Supporting Actress win for her. Susan French, who played the elderly version of Elise, is the originator of the funniest moment in production. In the beginning of the film, the old McKenna finds Collier backstage after a 1972 college play. She presses an old pocket watch into his hand, and the script calls for her to say cryptically, "Come back to me." During a take, French reportedly put the watch in Reeve's hand and said, "Have it fixed." That scene, incidentally, features bit parts by two then-unknown actors; George Wendt (Norm) of the television show Cheers fame, and William H. Macy, rising star of such flicks as Fargo (1996) and Magnolia (1999).

Upon the film's descent into post-production, the need to have a moving and effective soundtrack to accompany the action became obvious but due to the modest budget, director Jeannot Szwarc worried about the caliber of talent the film would be able to afford. It was Seymour who would save the day; her friendship with composer John Barry paved the way for his work on the film. Barry agreed to a percentage of the soundtrack sales in lieu of an up-front payment, a wise move: due in large part to its use of Rachmaninoff's "Rhapsody on a Theme of Paganini", the score became one the most successfully selling movie soundtracks of all time.

With the release of Somewhere in Time, however, the bubble burst: critics were brutal, with one stating that "Christopher Reeve looks like a helium-filled canary." (Well, the suit was a little tight.) Audiences rejected its uber-romantic premise and gauzy overlay - the movie was actually shot with two different film stocks, one with crisper tones for present day action, the other with softer, sepia tones to reflect the antiquated feel of the 1910's scenes. Universal, its distributor, was thus delighted when a Los Angeles-based cable company purchased the rights to air it. After repeated showings, video rentals began to increase steadily and the film became an underground cult classic, thanks to television. Ironically, ten years after its release, a dedicated fan club sprang up, that continues to hold annual conferences at the Grand Hotel on Mackinac. Both Seymour and Reeve eventually received stars on the Hollywood Walk of Fame, due in part to pressures applied by the Somewhere in Time fan club, called INSITE (International Network of Somewhere in Time Enthusiasts!). The film recently celebrated its 20-year anniversary, and continues to grow in popularity worldwide.

Producer: Stephen Deutsch
Director: Jeannot Szwarc
Screenplay: Richard Matheson
Art Direction: Mary Ann BiddleCinematography: Isidore Mankofsky
Editing: Jeff Gourson
Music: John Barry
Cast: Christopher Reeve (Richard Collier), Jane Seymour (Elise McKenna), Christopher Plummer (William Fawcett Robinson), Teresa Wright (Laura Roberts), Bill Erwin (Arthur).
C-103m. Letterboxed.

by Eleanor Quin

Somewhere in Time

Never underestimate the power of cable television. This is, perhaps, the greatest lesson the film Somewhere in Time (1980) taught the film industry. The story of a man in the 1980s traveling back in time to be with his true love in the 1910s was not one that generated much interest among critics or audiences during its release in 1980, and it promptly flopped. But the film was fated to have a second life, as the cast and crew would come to find out over the next twenty years.Christopher Reeve was riding high off the success of Superman (1978) in the late 70s and had his pick of countless film roles for his sophomore effort. Among the flicks he declined were Body Heat (1981), The World According to Garp (1982), and The Bounty (1984) - William Hurt, John Lithgow, and Mel Gibson, respectively, got his leftovers. Reeve, however, was looking for a more sensitive and romantic leading man angle, a role he would find in the character of struggling playwright Richard Collier in Somewhere in Time. He signed on to the project, declaring the story to be "an absolutely honest attempt to create an old-fashioned romance. It's not based on sex or X-rated bedroom scenes." Piety may have been on his mind; at the time, Reeve was receiving some harassment from the press for living with his girlfriend in London and having a child out of wedlock. He would soon travel to Mackinac Island, Michigan, to begin the shooting of the film.The story of Somewhere in Time is based on Bid Time Return, a novel by Richard Matheson. Matheson, best known as a horror and fantasy writer, also authored The Incredible Shrinking Man (1957), I am Legend (1954), which became the basis for two films (The Last Man on Earth (1964) and The Omega Man, 1971), and, more recently, the screenplay for What Dreams May Come (1998). Matheson was inspired by a chance stop at the opera house in Virginia City, Nevada, during a family trip. A photo of the early 20th century stage actress Maude Adams stirred him to write about a man similarly moved by an old photograph. Despite this story, there are some discrepancies about the movie's true origins as noted by the striking parallels between Bid Time Return and another novel, Time and Again, written five years earlier by Jack Finney. The author of the second book even receives a homage in the film; the professor Collier consults about time travel is named Finney.In the novel Somewhere in Time, Matheson set the action at the Coronado Hotel in San Diego; due to such obstructions as television antennas, the film's producers looked for an alternate location. They found it on Mackinac Island at the Grand Hotel; the hotel was built in 1887, and the owners reportedly offered the use of the hotel and surrounding grounds for free to the production in exchange for a favorable treatment in the film. Mackinac Island itself fit in very well with the themes of the film; no automobiles are permitted, and the island relies instead on horses or bicycles. The cast and crew of Somewhere in Time each had their own numbered bike, although the use of one vehicle was negotiated successfully for the purposes of transporting equipment only. As Reeve explains in his 1998 biography, Still Me, "We began filming in late May 1979, and the location quickly cast a spell on our entire company. The real world fell away as the story and the setting took hold of us. I've rarely worked on a production that was so relaxed and harmonious. Even the hard-boiled Teamsters and grips from Chicago succumbed to the charms of the island and the mellow atmosphere on the set." What the producers didn't know was that Reeve, an avid pilot, had a small plane hidden on another part of the island; on days off, he, Jane Seymour, and other members of the cast would jet off for secret day trips.Although Reeve found himself mobbed on the island by Superman-crazed fans (who eventually left him alone after he struck a deal to meet and greet them after the shoot), the rest of the cast quietly went about their business uninterrupted. Jane Seymour, best known up to this point as a Bond girl (from Live and Let Die , 1973), was cast as Elise McKenna, the enchanting young beauty who provides the motivation for Collier's time traveling. When she first met Reeve, she discovered he had been training for the part with a Method acting coach who recommended that Reeve practice writing daily since he was playing an author. Seymour was amused but pointed out to the actor that his character has writer's block, recalling that Reeve "got this funny look on his face; kind of startled, you know? 'You're absolutely right,' he said. 'Let's go have dinner.' And that was the end of the writing." Needless to say, Reeve and Seymour got along famously and generated an undeniable onscreen chemistry together, but their ballroom dancing was another matter; guess who was dubbed "Superfoot" after stepping on his co-star's toes one too many times?As for the supporting players, Christopher Plummer was featured as McKenna's ambitious and overly protective manager; the Canadian actor was immortalized as the Baron Von Trapp in The Sound of Music (1965), while recently appearing in such fare as The Insider (1999), A Beautiful Mind (2001) and Nicholas Nickleby (2002). Teresa Wright appears as a previous caretaker for the aging version of McKenna. Wright scored a hat trick with her first three film appearances - The Little Foxes (1941), The Pride of the Yankees (1942), and Mrs. Miniver (1942) all earned her Oscar nominations, the last being a Best Supporting Actress win for her. Susan French, who played the elderly version of Elise, is the originator of the funniest moment in production. In the beginning of the film, the old McKenna finds Collier backstage after a 1972 college play. She presses an old pocket watch into his hand, and the script calls for her to say cryptically, "Come back to me." During a take, French reportedly put the watch in Reeve's hand and said, "Have it fixed." That scene, incidentally, features bit parts by two then-unknown actors; George Wendt (Norm) of the television show Cheers fame, and William H. Macy, rising star of such flicks as Fargo (1996) and Magnolia (1999).Upon the film's descent into post-production, the need to have a moving and effective soundtrack to accompany the action became obvious but due to the modest budget, director Jeannot Szwarc worried about the caliber of talent the film would be able to afford. It was Seymour who would save the day; her friendship with composer John Barry paved the way for his work on the film. Barry agreed to a percentage of the soundtrack sales in lieu of an up-front payment, a wise move: due in large part to its use of Rachmaninoff's "Rhapsody on a Theme of Paganini", the score became one the most successfully selling movie soundtracks of all time.With the release of Somewhere in Time, however, the bubble burst: critics were brutal, with one stating that "Christopher Reeve looks like a helium-filled canary." (Well, the suit was a little tight.) Audiences rejected its uber-romantic premise and gauzy overlay - the movie was actually shot with two different film stocks, one with crisper tones for present day action, the other with softer, sepia tones to reflect the antiquated feel of the 1910's scenes. Universal, its distributor, was thus delighted when a Los Angeles-based cable company purchased the rights to air it. After repeated showings, video rentals began to increase steadily and the film became an underground cult classic, thanks to television. Ironically, ten years after its release, a dedicated fan club sprang up, that continues to hold annual conferences at the Grand Hotel on Mackinac. Both Seymour and Reeve eventually received stars on the Hollywood Walk of Fame, due in part to pressures applied by the Somewhere in Time fan club, called INSITE (International Network of Somewhere in Time Enthusiasts!). The film recently celebrated its 20-year anniversary, and continues to grow in popularity worldwide.Producer: Stephen DeutschDirector: Jeannot SzwarcScreenplay: Richard MathesonArt Direction: Mary Ann BiddleCinematography: Isidore MankofskyEditing: Jeff GoursonMusic: John BarryCast: Christopher Reeve (Richard Collier), Jane Seymour (Elise McKenna), Christopher Plummer (William Fawcett Robinson), Teresa Wright (Laura Roberts), Bill Erwin (Arthur). C-103m. Letterboxed. by Eleanor Quin

Quotes

Trivia

Miscellaneous Notes

Released in United States September 1980

Released in United States Fall October 3, 1980

Released in United States on Video April 7, 1988

Re-released in United States on Video April 30, 1996

Formerly distributed by MCA Home Video.

Released in United States September 1980

Released in United States Fall October 3, 1980

Released in United States on Video April 7, 1988

Re-released in United States on Video April 30, 1996