Celebrating a Movie the Critics Hated: The Bizarre Cult of "Somewhere in Time"

American Thinker ^ | 10/6/2013 | David Paulin

[SeekAndFind]

Message to high-brow movie critics and cultural elites: Stay away from the Grand Hotel on Michigan's Mackinac Island this weekend. No cynicism allowed! Not among the nearly 800 "time travelers" who arrived on Friday at the historic Grand Hotel -- the start of a three-day gathering during which they'll dress up in period garb and (in their minds) transport themselves back to 1912.

The fanciful journey has been an annual ritual for 23 years now, bringing together incurable romantics from all over the country, and even abroad. It's a celebration of the 1980 movie "Somewhere in Time"-- a bittersweet love story involving time travel and shot mostly in and around the majestic 126-year-old Grand Hotel.

The film's message: love is eternal.

Critics hated "Somewhere in Time." Vincent Canby wrote in The New York Times that the film had the year's highest "giggle content," and "does for time-travel what the Hindenburg did for dirigibles." Deriding the film's "romantic idealism," Roger Ebert asked in the Chicago Sun-Times whether it wasn't "a little futile to travel 68 years backward into time for a one-night stand."

Yet "Somewhere in Time" is now a beloved cult classic -- all of which underscores the amusing perception gap that often exists between ordinary movie audiences and cultural elites (and especially movie critics). But that's not news to Jo Addie, an antiques dealer in the Chicago area, who is president of the "Somewhere in Time" fan club and editor of its quarterly magazine. "You could hardly imagine a critic putting words to paper saying they truly love a movie like "Somewhere in Time," she wrote in an e-mail message. "It would have them losing their 'credibility' or their 'edge'. "Somewhere in Time" is not for the jaded or cynical."

[Borges]

Dave Kehr had an interesting take on it...”It was an amateurish attempt to re-create the morbidly weepy supernatural love stories of the 1940s (The Ghost and Mrs. Muir, A Guy Named Joe, Portrait of Jennie). Obsession with long-dead loves and fantasies of their return made sense in the WWII era, but in a modern context they just seemed maudlin and grotesque.”