'I Know Where I'm Going!'

1945

Drama  Romance  

Synopsis


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December 27, 2017 at 7:41 am

Director

Cast

Wendy Hiller as n Joan Webstern n
John Laurie as n John Campbelln n
Finlay Currie as n Ruairidh Mhórn n
720p 1080p
640.34 MB
n 1280*720 n
n English n
n NR n
n 24 fps n
n 1hr 31 min n
P/S 5 / 64
1.36 GB
n 1920*1080 n
n English n
n NR n
n 24 fps n
n 1hr 31 min n
P/S 18 / 86

Movie Reviews

Reviewed by n/a 9 / 10

Powell and Pressburger at their finest

This wonderfully charming film from the Powell and Pressburger team is probably their most underrated great work: the most recent "Sight and Sound Critics Poll" of British films didn't even include this gem in the top 100. If it means anything, "Trainspotting" was in the top 10.What elevates the film beyond other light-hearted romances is chiefly the impeccable acting and tight screenplay by Emeric Pressburger, probably the greatest English screenwriter to have ever lived. This might be generic laudation to any film, but by no means is Wendy Hiller's performance generic. As the young gold-digger-type woman, Hiller is slightly bewildered at being sidetracked to the Scottish natives, but she is much more fluxed when she realizes she is falling for a common Scotsman, and not the rich lord she envisioned. So what is the reaction to this bafflement? A fierce sense of panic that is very honest in its depiction of desperation. It might be puzzling to the viewer why our heroine should seek royalty so vehemently, but because of Hiller's expert frenzied facial tics, we see her slowly realize her ridiculousness herself. In an age where critics desire constant plausibility and "believability" in romances, Pressburger reminds us that attraction is something that can largely be out of our control. Hiller's character, an obsessive control freak, is the perfect example of one who cannot comprehend this fact.The perfect foil for Hiller's hysteria, of course, is Rover Livesey's soft-spoken Torquil Macneil. Before Ashton Kucher-like effete twigs came to dominate on-screen masculinity (or Vin Diesel-like muscle-studded goons on the other extreme), the quiet dignity and charisma of a man like Livesey could light up a screen without any histrionics or wrestling moves. Those still looking for romantic realism will recognize that like Hiller's character, Livesey is just as strong-willed, and more importantly, is a match in wits and a counterbalance in earnest, world-weary personality. Their mutual attraction is perfectly played out in the strangely electric silences as much as the dialogue.But the performances enhance what is already a remarkable script. The very basic premise of the love story can be read by many other astute reviewers on this website who also see the merits of this film. Powell and Pressburger have always been smart enough to embed their love stories with some heavy ideas: in "The Red Shoes," it was love vs. art; in "I Know Where I'm Going!" it is love vs. money. Sounds simple enough, but unlike other romances, these filmmakers can glean insights on the definition of poverty. While primitive (the one phone in town is at the post office) and poor (the staff in charge there can't break change for a pound), the villagers are portrayed affectionately with class, dignity, and culture, especially in a wonderful dance scene that seems to affectionately embody both a small community's close familiarity with one another, as well as the drunken festival spirit. Like Livesey's character says at one point in the film, "They aren't poor, they just haven't got any money." It's a succinct but revealing statement about the human condition in a time where money did not necessarily determine one's social class because of many other admirable factors. Contrast this cultural milieu with a film like "8 Mile," in which the characters are "real" if they are from the "streets" or living with trailer trash parents, and "phony" if they have an education from a private school, and you can see how our self-important attitudes are progressing.Lastly, I must mention that this is one of the most exquisitely photographed black and white films I have ever seen, and the Criterion remastering does the film ample justice. I have been harping on the merits of the high-mindedness of Pressburger, but the appropriate plaudits must be dealt for Powell's emotionally expressive vistas that equal his achievements in "The Edge of the World." From the craggy peaks of the highest cliffs or the frothy waves of every bank, the film's mystic sense of ambiance is drawn by a foggy mist that pervades most scenes. For once, grand scenery doesn't dwarf the characters; every picturesque shot either captures the characters in the beauty of the element, or is intended as a complement to the characters' emotions. It's a great film.

Reviewed by n/a 9 / 10

One of a kind

It's really "It Happened One Night" -- spoiled girl, on the way to wed her rich fiance, is escorted by a younger man and falls in love with him -- but it's so much more. Powell's and Pressburger's imaginations are boundless. They create characters who are lovable eccentrics, but believable. They shift tone effortlessly from comedy to thriller to travelogue to romance and back again. They employ every resource of cinema, without being showy about it: watch the camera tricks in the first ten minutes alone. They fill the movie with diversions that have little to do with the plot but create a beautifully picaresque atmosphere. I don't know of any other movie that is so inconsequential on the face of it, yet packs such an enormous emotional wallop. Ostensibly an assembly-line romantic comedy, it's really about spiritual growth, opening yourself to all sorts of new experiences and learning to see things from others' points of view. It's whimsical, but not thin. With its moody photography, wonderful musical score, and numerous coups de cinema, it lingers in your memory months after you've seen it. And the ending is one of the most satisfying in all the movies.One minor complaint: Hiller is a tad too steely in the beginning, too crisp, too calculating-actress-playing-calculating-character. As she succumbs to the charms of her surroundings and her leading man, though, she's bewitching. And Livesey has one of the most beautiful speaking voices you'll ever hear. Their chemistry is terrific. And when he recites a Celtic poem ending in, "you're the one for me," and looks right at her, it's quite sexy.There's no other movie quite like it. And I defy anyone to see it on a date and not fall in love with his/her vis-a-vis.

Reviewed by n/a 9 / 10

Slip into Flannel Jammies, Pop Corn, Brew Tea, & Enjoy

I love it that this page is as full as a cornucopia with praise from fans of "I Know Where I'm Going." In the same way that it is delightful for a movie fan to discover this little-known, black-and-white, Powell and Pressburger romance, it is also delightful to encounter other fans of the movie here."I Know Where I'm Going" is a quiet and adorable movie. It gives you a Scotland that really exists; if you aren't lucky enough to visit someday, you can visit by slipping into your jammies, brewing up some tea, putting out all the lights, and watching this movie.Star Wendy Hiller was memorable, when she was younger, for her Eliza Doolittle, opposite Leslie Howard's Henry Higgins. When she was a bit older, she played Paul Scofield's / St. Thomas More's wife in "A Man for All Seasons."Here Hiller plays Joan, a driven golddigger who is given pause for thought by a less-than-wealthy but highly noble Scottish Laird, Roger Livesy, whom she can't escape from when a gale postpones her marriage, which was scheduled to occur on an isolated island. Joan's groom was to be a nouveau riche industrialist, who is renting the island, and who happens to be old enough to be her father. As Joan's scandalized father himself points out. The DVD notes tell you what this movie had to say about war-time Britain, about Winston Churchill's being kicked out of office, about rationing and the loss of empire. But ... enough of all that. This is a love story, the love story of the characters on the screen, and the love of its fans for this movie. Watching "I Know Where I'm Going" induces an atmosphere of coziness, tradition, mystery, tartan wool and fierce storms, of both the meteorological *and* cardiac varieties. Enjoy the love story, the Scottish burrs, the rafter folklore, the golden eagle, the lead couple's first kiss, the wolfhounds silhouetted against the mist. My only regret is that this film is so short ... I wish I could recommend another film as a double feature to fill in the afterglow this film induces... but what? "Brigadoon," a Hollywood musical about a mystical Scottish village, is too heavy-handed in comparison. Disney's "Thomasina" is sweet, but maybe too sweet. Let's face it ... they don't make enough movies like "I Know Where I'm Going." Sweet but dry as scotch; scratchy as thistle. Mystical as an ancestral curse but clear-eyed as the first clear day after a storm breaks. How many romantic comedies ask you if you know how to skin a rabbit, and then show you a golden eagle eating one, quite graphically, on camera?Sigh. All I can say is, I envy those who haven't seen this movie yet. You have a real pleasure ahead of you.

Reviewed by n/a 9 / 10

There's not much to say about this film, apart from the fact that it's gorgeous and irrestistable

Two things, though, you should watch for:(1) Our first glimpse of Scotland comes as part of the heroine's queer dream on the train: we see a series of friendly rounded hills, all made out of tartan. It's a lovely image. It's also our first hint that our heroine has even the tiniest bit of romanticism about her. It later takes every force of man and nature in the real Scotland to bring it out.(2) The locals she stays with are a nice bunch. They're not cloyingly sweet; but Powell and Pressburger don't present us with insularity and narrow-mindedness as if such traits are meant to be endearing, in the way that so many hymns of praise to small communities do. Anyway: watch for the cameo given to Petula Clark, that young girl with glasses. She only gets a few lines, but it's a great part.This is only the second Powell/Pressburger film I've seen (and only the fourth film of Powell's). I'm impressed. Are they all this good?

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