Produced by Gainsborough during the Second World War, this trip down memory lane had a ‘hands across the water’ feel, as Brits Tommy Handley and Felix Aylmer are transported back to Elizabethan times in the company of American entertainers Evelyn Dall and George Moon.Īlthough the metallic spherical time machine concocted by production designer John Bryan and effects master Jack Whitehead made screen history, the core storyline was a little less original, as it recalled Thomas Bentley’s Old Bill ‘Through the Ages’ (1924), a spin-off from a popular Bruce Bairnsfather comic strip that saw soldier Syd Walker hallucinate his way back to Merrie England after eating a tin of lobster in the trenches. A few have attempted profound statements on humanity’s place in an unknowable scheme, but the majority have settled for escapist entertainment that fires the imagination without overtaxing the intellect.
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Some have permitted free travel, while others have opted for involuntary jaunts. Subsequently, filmmakers have sought variations on the theme that allow travellers to pass along fixed timelines and through multiverses, as well as enter loops and paradoxes. Schaffner’s Planet of the Apes (1967) and Luis Buñuel’s The Milky Way (1968), remained comparatively rare.Įverything changed in the blockbuster era, however, with James Cameron’s The Terminator (1984) and Robert Zemeckis’s Back to the Future (1985) focusing more on spectacle than plausibility.
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But it was 1960 before George Pal got round to filming Wells’s 802,701 encounter with the Eloi and Morlocks of a future Earth and, even though time travel became a familiar plotline in TV shows like The Twilight Zone, Doctor Who and Star Trek, features exploring the subject, such as Franklin J. Three years later, Hollywood got in on the act when Kane Richmond boarded John Merton’s Time Top to venture back 200 years to retrieve a formula from an uncharted island in Spencer Gordon Bennet and Thomas Carr’s serial, Brick Bradford. But it wasn’t until Felix Aylmer’s shiny Time Ball landed in Elizabethan England in Walter Forde’s Time Flies (1944) that screen time travel was accomplished in a specially designed machine. A decade later, an enchanted radio took Will Rogers to the same destination in David Butler’s sound remake.
Flynn’s 1921 take on Mark Twain’s satirical fantasy, A Connecticut Yankee in King Arthur’s Court. Griffith’s Intolerance (1916) in showing how Death ( Bernhard Goetzke) allows a 19th-century waif ( Lil Dagover) to travel across history to Baghdad, Venice and China in a bid to save her lover’s life.ĭreams were Dagover’s mode of transportation and concussion enabled Harry Myers to find himself in Camelot in Emmett J. But Fritz Lang embraced the notion in Destiny (1921), which took its cues from Charles Dickens’s A Christmas Carol (1843) and D.W. Master illusionists like Georges Méliès passed up the opportunity to travel through time and space. Wells published The Time Machine in 1895, the same year that the Lumière brothers projected the first moving images to a paying audience, cinema was slow to recognise the dramatic potential of time travel. Sci-Fi: Days of Fear and Wonder is a major celebration of film and TV’s original blockbuster genre, from October to December 2014.Īlthough H.G.
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