Cast & Crew
American atomic scientist Dr. Peter Standish toils so relentlessly at a nuclear laboratory in London that his supervisor, Dr. Ronson, and co-worker, Roger Forsyth, worry that Standish's intense dedication to his work will ruin his health. At the end of one day, Forsyth gives Standish a ride to his eighteenth-century residence in Berkeley Square and suggests that he take a vacation. Standish, who inherited the house from a distant ancestor, explains to Forsyth that he will be leaving for a while. Forsyth's concern for Standish's mental health deepens as Standish explains that the house was once owned by the first Peter Standish, an American who came to London to marry his cousin, Kate Pettigrew, in 1784. Standish has found a diary and other documents belonging to his ancestor and, due to their strange nature, believes that he will be able to switch places in time with the first Standish that very night. Forsyth states that Standish's obsession with the eighteenth century is crazy, but Standish maintains that it was a time of reason and graciousness, much preferable to the chaos of the current century. Forsyth eventually leaves, and after Standish sees him to his car, a bolt of lightning hits him as he re-enters the house. When Standish regains consciousness, he discovers that he is wearing different clothes, and upon entering the house, he is greeted by Kate Pettigrew; her mother, Lady Anne; her brother Tom and their friend, Mr. Throstle. After realizing that he has gone back in time, Standish recovers his composure and delights in meeting the people about whom he already knows so much. Standish is taken aback, however, by the arrival of Kate's lovely sister Helen, about whom there was no mention in the historical papers. As the days pass, the Pettigrews are disturbed by Standish's eerie foreknowledge of events and his odd manners, although Helen is attracted to him. Standish returns Helen's feelings, but becomes disenchanted with the eighteenth century when he discovers that the majority of the population live in filth and poverty. The Pettigrews and their social circle are more narrow-minded than Standish had imagined, and he loses patience with their prejudices. Upon meeting renowned painter Joshua Reynolds, Standish reveals his knowledge of Reynolds' painting entitled "The Tragic Muse," even though Reynolds has just begun the project and not yet told anyone its name. Such occurrences prompt Kate to fear her cousin, and she also grows nervous about the attention he pays to Helen. Standish confides in Helen that he is from the future and takes her to his secret laboratory, where he has been "inventing" photography, a steamship, electricity and other innovations that he hopes will help the common people. Helen is not shocked by Standish's revelations, and drawing comfort from her support, he calls her "the only real beauty in this ugly century." That night, at a party hosted by the Pettigrews, Standish ignores Kate to dance with Helen, much to the chagrin of Throstle, who hopes to marry Helen himself. Standish meets the famed Duchess of Devonshire, Dr. Johnson and James Boswell, but when he praises the duchess, she is chilled by his statements, for he sounds as if he were reading her obituary. Having thus frightened more of his acquaintences, Standish confronts Kate, who declares that she will not marry him. Standish insists that she will, and that they will have two children, further upsetting her. Kate storms out, and after the party, Helen questions Standish about the future. When she gazes into his eyes, Helen sees scenes of Standish's life in the future, but is not frightened. Standish and Kate profess their love, and Kate assures him that their love will exist for all time. Soon after, Throstle notifies the Bow Street magistrate about Standish's laboratory, and after his experiments are destroyed by the fearful constables, Standish is questioned by Sir William Sutherland, a physician. Despite Standish's pleas as one scientific man to another, Sutherland decides to commit him to Bedlam. Standish rushes to Helen's room to say goodbye, and she places a crux ansata , an Egyptian symbol of life and eternity, in a hidden drawer in her desk to remind him of her love for him. Helen swears her eternal love for Standish, and he is then escorted out by the guards. Lightning strikes him again, however, and Standish regains consciouness back in his own time. Forsyth arrives and informs him that he has been having a nervous breakdown for the past seven weeks. When Forsyth describes his unusual behavior, Standish realizes that he did change places with his ancestor, who was horrified by modern life. Standish then goes to Helen's old room and finds the crux ansata , after which Forsyth is joined by his sister Martha, who had helped to care for Standish during his illness. Standish is amazed at Martha's appearance, as she is an exact double for Helen. Standish then goes to the churchyard where Helen had said that she would be buried, and there he learns that she died soon after he and the other Standish switched places again. Remembering Helen's promise that they would be together in God's time, Standish gazes at Martha and leaves with her.
John Van Eyssen
I. S. Hallows
C. P. Norman
Sol C. Siegel
Dr. E. N. Tiratsoo
I'll Never Forget You - Tyrone Power in the 1951 Romantic Fantasy, I'LL NEVER FORGET YOU
Generally, however, things don't go too well for Power in the past. He's not good at hiding his knowledge of people he hasn't yet met or of events that haven't yet occurred, and as a result he frightens everyone around him. When he "invents" all sorts of devices including electricity, a trip to the loony bin at Bedlam becomes a genuine threat. At its heart, though, I'll Never Forget You is a romance, and a touching one at that, as Power and Blyth experience a love similar to that in the later film Somewhere in Time (1980) and to Jack Finney's novel Time and Again.
As it turns out, I'll Never Forget You is a remake of an earlier film, Berkeley Square (1933), which starred Leslie Howard and was based on a play by John L. Balderston, the famous writer of atmospheric classics like The Mummy (1932), Mad Love (1935) and Gaslight (1944). Shot by renowned cinematographer Georges Perinal, the film's present-day sections are in black-and-white while the past is in Technicolor. For years, the movie was only available (when it was available at all) in 100% black-and-white; Fox Home Entertainment has found color elements and restored them to the film but unfortunately has not really cleaned up the color image, which looks quite murky and faded.
The studio has issued I'll Never Forget You as part of a new 10-film collection of Tyrone Power's work. None of the ten is an outright, top-shelf classic, but they all do provide a revealing look into the stardom process of the studio era. The earliest title here, Girls' Dormitory (1936), features Power's first credited role, a brief appearance toward the end of the picture, and one can sense the impression he must have made on audiences. Five more titles come from the following four years, and in these, Power's charisma and appeal are undeniable, especially in his light-yet-enjoyable pairings with Loretta Young; both were at the peaks of their attractiveness. In other movies here, one can see Power co-starring with Linda Darnell, Dorothy Lamour, Joan Fontaine, Gene Tierney and Anne Baxter.
Not long after I'll Never Forget You, Power ended his Fox contract and became a freelance actor. He had grown increasingly bitter because the studio hadn't been providing him with challenging roles. Film historian Jeanine Basinger has written (in The Star Machine [Knopf, 2007]) that none of the movies he'd made since 1947 had been "truly distinguished" although they consistently performed well at the box office.
"Enthusiasm for film work," writes Basinger, "began to die inside Power. His disappointment showed on-screen. He often seemed to be walking through his roles. Sadly for his ambitions and talents, his disillusionment affected his work and he began to look like an aging movie star whose ability was limited... He became less than he was." Indeed, Power does seem tired in I'll Never Forget You; there's a spark of some sort missing from his performance.
Also in the cast, and stealing every scene he's in, is the fine British actor Dennis Price, who had recently starred in the Ealing gem Kind Hearts and Coronets (1949). Here he clearly relishes lines like, "I had thought that you would arrive in buckskins, or whatever the fashion is in - what do you call the colonies now?"
Michael Rennie is on hand as a colleague of Power's in the present day. Two months before this movie opened, Rennie could be seen in theaters as Klaatu in The Day the Earth Stood Still (1951), the role for which he will always be remembered. The English actor spent the 1950s under contract to Fox, and he and Power became very good friends, co-starring in three movies together. (This was the second.)
Director Roy Baker replaced Carol Reed at the last minute, and Ann Blyth was a mid-shooting replacement for British actress Constance Fox, who fell ill after herself replacing Jean Simmons. Blyth is costumed and lit quite beautifully and delivers a sensitive performance.
I'll Never Forget You, which is also widely known by its British title, The House in the Square, was filmed in London where Power had just completed a six-month run of Mister Roberts on the West End stage.
While there are no extras for this particular movie other than production stills, there are a few sprinkled into the rest of the collection in the form of documentary featurettes as well as some deleted scenes for Power's Café Metropole (1937). All in all, it's a very worthwhile set for fans of the star.
For more information about I'll Never Forget You, visit Fox Home Entertainment. To order I'll Never Forget You, go to TCM Shopping.
by Jeremy Arnold
I'll Never Forget You - Tyrone Power in the 1951 Romantic Fantasy, I'LL NEVER FORGET YOU
The working titles of this film were Berkeley Square, No. 9 Berkeley Square, Beyond Time and Space, Man of Two Worlds and The House on the Square, which was also the British release title. Although contemporary sources note that the picture begins in black and white, and then transforms to Technicolor when the modern "Peter Standish" goes back in time to 1784, the viewed print was only in black and white.
A July 30, 1945 Hollywood Reporter news item stated that Gregory Peck and Maureen O'Hara were set to star in the picture, although the project was then suspended until 1950. According to a July 1950 Hollywood Reporter news item, Micheline Prelle was set to co-star with Tyrone Power. Prelle was replaced by Constance Smith, who, according to a March 15, 1951 Hollywood Reporter news item, was replaced by Ann Blyth after Smith became ill with pneumonia. A April 1, 1951 New York Times article, however, claimed that Smith was replaced by Blyth because studio production chief Darryl F. Zanuck did not feel that Smith was "sufficiently experienced for such a difficult part." A modern source asserts that Jean Simmons had been sought to play opposite Power, and that Carol Reed had been asked to direct the project. Although a February 1951 Hollywood Reporter news item includes Margaret Johnston and Geoffrey Sumner in the cast, their appearance in the completed picture has not been confirmed. Contemporary sources report that the film was shot entirely on location in London, England.
On September 22, 1952, Power reprised his role for a Lux Radio Theatre broadcast of the story, which co-starred Debra Paget. Fox Film Corp. first filmed John L. Balderston's play in 1933 as Berkeley Square, which was directed by Frank Lloyd and starred Leslie Howard and Heather Angel (see AFI Catalog of Feature Films, 1931-40). Among the many television dramatizations of the story are a March 20, 1949 version, directed by Paul Nickell and starring William Prince and Leueen MacGrath; a February 13, 1951 show, directed by Donald Davis and starring Richard Greene and Grace Kelly; and a February 5, 1959 presentation, directed by George Schaefer and starring John Kerr and Edna Best.