Terrific soap opera with a twist. A beautiful actress kills her cheating, alcoholic husband on New Year's Eve, but soon finds she's getting the chance to relive the past year of her life all over again! Who among us wouldn't want a chance like this? Fantasy elements in the story are surprisingly subtle, as we realize along with Joan Leslie that some paths can be walked twice, but the outcome is difficult to change. Leslie, who looks like a young Esther Williams, gives a very good performance, aided by some taut dialogue. Neat little item, with plenty of backstage witticisms and show-people with no morals. *** from ****
65 Reviews
Buried treasure a surprising hybrid of sophisticated soap opera, sci-fi and film noir
bmacv28 February 2003
Repeat Performance needs urgent rescuing from the black hole it has somehow fallen into. A superior Poverty Row production from Eagle-Lion Studios, it's imaginatively scripted, played with gusto and never less than fascinating a curio, film noir in a sci-fi time loop.
On New Year's Eve, 1947, Joan Leslie shoots and kills her husband, Louis Hayward. She wishes she hadn't, and her wish comes true suddenly she's back in New Year's Eve, 1946. This proves to be no mere shuffling around of the narrative; she's been given the year to live over again in hopes of a happier ending. But of course the gimmick serves as a flashback, too, retracing the sequence of events that led (or will lead?) up to the shooting.
The title also drops a clue about the picture's fang-and-claw milieu, New York's theater world. Leslie's a star on the Rialto, having come to prominence in one of her husband's plays. He turned out to be a one-shot wonder, however, resorting to the bottle in resentment of his failure and his wife's success (there are parallels to A Star Is Born and to All About Eve). Other characters in this backstage story include Leslie's producer, Tom Conway; Virginia Field, as a haughty English playwright; Richard Basehart (looking, in his debut, like a young Harrison Ford), as an unhappy poet but loyal friend; and Natalie Schafer, as a viperish patroness of the arts.
When Leslie suddenly finds herself in last year's gown, she tries to renegotiate her way through the year, this time in possession of an advance copy of the script, gingerly avoiding its fatal pitfalls. She comes to learn (as do we all) that destiny writes in cement. Luckily for her, it hasn't quite hardened.
On the first New Year's Eve, Howard's resolution not to drink doesn't even make it to midnight; he turns sullen and abusive. A spring sojourn to sunny California, while shopping for a new vehicle for Leslie, doesn't improve his moods. Her next prospect comes from the pen of Field, and Howard browbeats her into accepting it; he, meanwhile, takes up with its author. Basehart finds himself in the clutches of Schafer, who ends up having him committed to an asylum, while Howard suffers a drunken fall that paralyzes him. As the year winds to its close, Leslie desperately tries to extricate herself from what she knows is to come....
Despite being an unlikely hodge-podge of noirish, soapish and paranormal elements, the movie never seems stretched or thrown together. The less than luminous cast rises to the occasion, with each member allotted a place in the spotlight. Accept the flaw in the warp or weft of the fabric of time, and Repeat Performance zips along smoothly and convincingly. It's buried treasure proof, albeit obscure, that rough magic could sometimes occur even on the outer fringes of the movie industry.
On New Year's Eve, 1947, Joan Leslie shoots and kills her husband, Louis Hayward. She wishes she hadn't, and her wish comes true suddenly she's back in New Year's Eve, 1946. This proves to be no mere shuffling around of the narrative; she's been given the year to live over again in hopes of a happier ending. But of course the gimmick serves as a flashback, too, retracing the sequence of events that led (or will lead?) up to the shooting.
The title also drops a clue about the picture's fang-and-claw milieu, New York's theater world. Leslie's a star on the Rialto, having come to prominence in one of her husband's plays. He turned out to be a one-shot wonder, however, resorting to the bottle in resentment of his failure and his wife's success (there are parallels to A Star Is Born and to All About Eve). Other characters in this backstage story include Leslie's producer, Tom Conway; Virginia Field, as a haughty English playwright; Richard Basehart (looking, in his debut, like a young Harrison Ford), as an unhappy poet but loyal friend; and Natalie Schafer, as a viperish patroness of the arts.
When Leslie suddenly finds herself in last year's gown, she tries to renegotiate her way through the year, this time in possession of an advance copy of the script, gingerly avoiding its fatal pitfalls. She comes to learn (as do we all) that destiny writes in cement. Luckily for her, it hasn't quite hardened.
On the first New Year's Eve, Howard's resolution not to drink doesn't even make it to midnight; he turns sullen and abusive. A spring sojourn to sunny California, while shopping for a new vehicle for Leslie, doesn't improve his moods. Her next prospect comes from the pen of Field, and Howard browbeats her into accepting it; he, meanwhile, takes up with its author. Basehart finds himself in the clutches of Schafer, who ends up having him committed to an asylum, while Howard suffers a drunken fall that paralyzes him. As the year winds to its close, Leslie desperately tries to extricate herself from what she knows is to come....
Despite being an unlikely hodge-podge of noirish, soapish and paranormal elements, the movie never seems stretched or thrown together. The less than luminous cast rises to the occasion, with each member allotted a place in the spotlight. Accept the flaw in the warp or weft of the fabric of time, and Repeat Performance zips along smoothly and convincingly. It's buried treasure proof, albeit obscure, that rough magic could sometimes occur even on the outer fringes of the movie industry.
A lost gem
jmucci-125 March 2006
I was given a copy of this film on 16mm and watched it with great curiosity for years without really knowing what it was. Why it has not been put onto DVD I don't know, but hope that it will soon. The premise of a woman wishing she had a year to live over again is not new, but is given a poignant treatment here, and is quite believable. Richard Basehart as a poet is really a fine performance, even an heroic one. Top it off, the music is written by George (Ballet Mecanique) Antheil, an idol of mine that I had no idea had scored this film--and it is quite a nice score at that, with a pounding climax that must have had everyone on the edge of their seat.
Solid "what if" kind of story manages to make you wonder how it will all come out
dbborroughs6 December 2009
Warning: Spoilers
Sold to me as a minor classic, this is a good (its hard for any film with Tom Conway to be bad) little film about a woman who shoots her husband dead on New Years Eve. She wishes that she could do it all again as the clock strikes midnight and is transported back a year. She now has to see if she will make the same mistakes or change things for the better.
Good little film, I don't think its quite the classic, is worth seeing because its so nicely dark and moody. The cast is the major selling point here with Joan Leslie as the woman, Louis Haywood as the husband we all would gladly shoot, Richard Basehart as a friend of the wife and Tom Conway as a theatrical producer all turning in performances near the top of the game.
This is one to keep an eye out for.
Good little film, I don't think its quite the classic, is worth seeing because its so nicely dark and moody. The cast is the major selling point here with Joan Leslie as the woman, Louis Haywood as the husband we all would gladly shoot, Richard Basehart as a friend of the wife and Tom Conway as a theatrical producer all turning in performances near the top of the game.
This is one to keep an eye out for.
A Good Watch
wombat-117 April 2002
Basehart's introduction to film has him appearing in a memorable supporting role here. This is well acted by all and superior to the remake, decades later. It hold suspense, with good performances managing to shy away from being overly melodramatic. A woman tries to avoid a terrible destiny when she is given a chance to relive the last year of her life.
"As long as you get the grand design right"
bkoganbing5 October 2014
This one is a real sleeper from Eagle-Lion. If you get a chance to see this on TCM or on Amazon please see Repeat Performance by all means. It's a melodramatic fantasy about a Broadway actress who is given a chance to live the last year of her life all over to see if she can avoid the terrible way she ended the year.
What Joan Leslie did is no less than shoot her husband, playwright Louis Hayward on New Year's Eve. But while running to tell her friend and producer Tom Conway of the tragedy when she opens the door she realizes quickly enough that it is last New Year's Eve, but she knows how the year is to end. Or does she? Can she avoid the oncoming tragedy of her killing her spouse?
Louis Hayward is someone whose work is worthy of a second look that he's not likely to get. He freelanced and didn't have the benefit of a major studio building him up as they did for Tyrone Power and Errol Flynn for example. But Hayward got to play a variety of parts that their studios would never let Power or Flynn play. Hayward did the swashbucklers as well as Power or Flynn, but did considerably more. He's wonderful as the dissolute husband of Leslie.
Richard Basehart made his screen debut here as the friend and confidante of Joan Leslie. Had this been made today Basehart's character would be most definitely gay. He's a poet and he acquires a patroness in rich Natalie Schaefer.
It certainly isn't Schaefer's fault, how could she know that she would wind up playing THE millionaire wife 20 years later taking a cruise on the SS Minow. But seeing her I wonder if this was how she was spending Thurston Howell's money. She's different here than the rich patroness of the castaways.
Virginia Field plays another playwright who starts paying attention to Louis Hayward and puts the Hayward/Leslie marriage on the rocks. This role is the typical Gail Patrick/Helen Vinson part of the other woman and Field plays it with gusto.
Repeat Performance is a great sleeper of a film and absolutely catch this one if broadcast.
What Joan Leslie did is no less than shoot her husband, playwright Louis Hayward on New Year's Eve. But while running to tell her friend and producer Tom Conway of the tragedy when she opens the door she realizes quickly enough that it is last New Year's Eve, but she knows how the year is to end. Or does she? Can she avoid the oncoming tragedy of her killing her spouse?
Louis Hayward is someone whose work is worthy of a second look that he's not likely to get. He freelanced and didn't have the benefit of a major studio building him up as they did for Tyrone Power and Errol Flynn for example. But Hayward got to play a variety of parts that their studios would never let Power or Flynn play. Hayward did the swashbucklers as well as Power or Flynn, but did considerably more. He's wonderful as the dissolute husband of Leslie.
Richard Basehart made his screen debut here as the friend and confidante of Joan Leslie. Had this been made today Basehart's character would be most definitely gay. He's a poet and he acquires a patroness in rich Natalie Schaefer.
It certainly isn't Schaefer's fault, how could she know that she would wind up playing THE millionaire wife 20 years later taking a cruise on the SS Minow. But seeing her I wonder if this was how she was spending Thurston Howell's money. She's different here than the rich patroness of the castaways.
Virginia Field plays another playwright who starts paying attention to Louis Hayward and puts the Hayward/Leslie marriage on the rocks. This role is the typical Gail Patrick/Helen Vinson part of the other woman and Field plays it with gusto.
Repeat Performance is a great sleeper of a film and absolutely catch this one if broadcast.
An unexpected pleasure
davida264722 September 2013
I saw this film last night as part of a Noir film festival here in Portland. A great story, with a terrific cast, including Richard Basehart's first film. Apparently, this movie previewed in Basehart's home town. As someone who was introduced to Basehart by "Voyage to the Bottom of the Sea", I've learned to appreciate what a wonderful actor he was. Louis Heyward was his usual evil/slimy self and it's always nice to see Tom Conway in a movie! Natalie Shaefer has a wonderful role as a rich woman who initially takes Basehart's character under he wing, but then does him harm. So you get Admiral Nelson and Mrs. Thurston Howell III in the same movie! We saw a restored 35 mm version that was in quite good shape. Joan Leslie was wonderful in the starring role. The host of the festival (I'm blanking on his name) told how she took on the "studio system" at Warner Brothers at an early age. I have new-found respect for her.
Underrated noir-ish-Leslie's peak
churei26 November 2003
REPEAT PERFORMANCE remains one of those quasi-forgotten films that were the product of Eagle Lion films. Joan Leslie had been semi-blacklisted by Jack Warner etal because she had sued to exit her Warner Bros. contract. This film marked her entrance into the free-lance market - sadly, at a low-budget studio - and her emergence as a beautiful adult woman in a powerful drama. The cast is remarkable for Eagle-Lion; it includes Louis Hayward as a wayward-drinking-cuckolding husband of a Broadway star (Leslie); Richard Basehart(his first major film and a stellar performance); Virginia Field, Benay Venuta, Tom Conway, and Natalie Schaefer! the film debuted at the beautiful Rivoli Theater on Broadway. Its opening scene is as dynamic as the similar openings in "The Letter" and "Rope". This time, Alfred Werker created the skillful scene which becomes noir-superb in its juxtaposition of murder against a New Year's Eve setting. Leslie not only looks her best...but turns in a whallopping performance that runs a tricky gamut. This film demands restoration. Yes, it is that hypnotic.
I would have done the same!
planktonrules26 April 2018
Warning: Spoilers
When the story begins, Sheila Page (Joan Lesley) has just killed her husband, Barney (Louis Hayward), and she is naturally very distraught. She wishes she hadn't done it and wishes she had the last year to do over again...and miraculously that's what happens next. Now Sheila has a chance to do things differently, though repeatedly whatever she did to avoid this fate, it ends up happening the same way anyway. To make things worse, Sheila doesn't seem to have learned a lot by getting her second chance! There just seems to be a horrible sense that fate is inescapable.
As I watched the Pages going through that year ago, I kept thinking that I, too, would have shot Barney! He was the worst of husbands...and I thought that if he came back to life and Sheila had the year to live over, she would have divorced him. After all, he was an alcoholic, a cheater and a nasty guy down deep...and he only gets worse as the film progresses.
Overall, it's a very unusual plot but some of the wonderfulness of this is lost because the character, Sheila, was so dopey and seemed to learn nothing by having the year to do again. Worth seeing but frustrating at times because you can't tell if it's all about fate...or Sheila just being a very, very slow learner.
As I watched the Pages going through that year ago, I kept thinking that I, too, would have shot Barney! He was the worst of husbands...and I thought that if he came back to life and Sheila had the year to live over, she would have divorced him. After all, he was an alcoholic, a cheater and a nasty guy down deep...and he only gets worse as the film progresses.
Overall, it's a very unusual plot but some of the wonderfulness of this is lost because the character, Sheila, was so dopey and seemed to learn nothing by having the year to do again. Worth seeing but frustrating at times because you can't tell if it's all about fate...or Sheila just being a very, very slow learner.
Memorable but forgotten film noir
churei8 October 2000
REPEAT PERFORMANCE remains one of the most haunting of film noir set in a most unusual "noir-ish" setting - the Broadway theater. It is distinguished by a superb cast, all the more wondrous considering that it was made by Eagle Lion. But its most extraordinary gift is JOAN LESLIE. This gifted actress had been semi-blackballed since she had left Warners, and, in this stylish yarn, she emerged as an adult actress of skill and depth. The opening scene is pure Hitchcockian...and as brilliant as ROPE. Richard Basehart blisters the screen in his debut. This film should be restored and cherished. Alfred Werker's direction should be recognized... and Ms. Leslie should be thanked.
Nicely-paced film with a shadowy and seasonal ambience
Scorpio_654 January 2022
Warning: Spoilers
I've been wanting to see 'Repeat Performance' (Alfred L. Werker, 1947) for quite some time, as not only am I a huge fan of film noir (I've seen nearly 400 film noir titles as of 2022) but I also love watching films that are seasonal and put you in the mood for a particular holiday. Along with 'The Man I Love' (Raoul Walsh, 1946), another great film noir whose plot transpires largely around New Year's Eve, 'Repeat Performance' also takes place around this holiday time.
In addition to its seasonal ambience, a strong point of the film is that the actors have really good chemistry onscreen. This might be somewhat helped by none of them being major superstars of the era. Sometimes, the presence of a major superstar can result in being a distraction that can take the viewer out of the film, thus, losing its immersive quality or, worse, ham it up for the camera or chew the scenery to the point where these superstars overshadow their more nuanced co-stars. The actors, here, work very cohesively together which helps the viewer focus more on the plot and storylines of the characters. Three of the principal actors are Louis Hayward, Joan Leslie, and Richard Basehart.
Hayward is fairly one-dimensional as Barney Page (or two-dimensional when you consider how quickly his character goes from lovingly embracing his wife, Sheila, to becoming angrily suspicious of her actions). Aside from the few peppered moments where Barney makes an attempt at being a loving husband, he is truly a despicable character beyond his drinking problem and, thus, does not exhibit any true redeeming qualities in the film. He's misogynistic and even says, "Darling, you're only a woman. You're not expected to have either judgement or intelligence". He's also repeatedly insulting, condescending, and cheats on Sheila, doing all of this in the presence of their friends and acquaintances. He's even physically abusive, giving her a sharp slap across the face on Christmas Eve.
The frustration of seeing this can make Sheila a very distant character to the viewer and one who I feel could be very difficult to relate to for most viewers. I think this is more in the fault of the screenplay than Joan Leslie's performance as, to my awareness, it doesn't appear that a woman's perspective had been consulted much for this screenplay, if at all, as it had been done so nicely in a film noir such as 'They Won't Believe Me' (Irving Pichel, 1947) with Joan Harrison as producer. Nearly every word uttered from Sheila's mouth is a compassionate stance for someone who is mentally, verbally, and physically abusive to her. She is very interested in saving Barney and acts more as his mother than his wife throughout the film. One must think that she has some sort of Munchausen Syndrome by Proxy when you consider the insults and gaslighting she condones and tolerates from him. Though not a bad performance, Leslie's portrayal of Sheila does come across as if Leslie is trying to remember every line as she's saying it. I've seen this happen with similar examples in other films where actors are so focused on perfecting an accent, or in James Bond films where actors are so focused on not getting hurt in an action scene, that their acting is less focused and suffers for those reasons. Leslie's performance is very sober, sombre, and almost phantom-like throughout most of the film, as if she is a ghost of the future amongst the people of the past which is all happening in the present. It works in that sense, but the tone of her acting style, here, can become a bit relentless at times.
Many performances in films of the Classic Hollywood era, namely the 1930s and 1940s, were textbook and template acting styles that strongly focused on remembering your lines, hitting your cues, and standardized diction and reactionary gestures. Richard Basehart's nuanced performance of William Williams really outshines every other actor in this film; it feels more modern, but not to the extent that it appears uncontrolled or obvious like some of the method acting performances in films of the 1950s. Basehart reminds me of how much of a discovery the acting of John Garfield had been to audiences in the late 1930s and how his acting would evolve into the 1940s. To some extent, the viewer sees the film through William's eyes as Sheila's devotion to Barney also becomes baffling to William even after she tries to explain it to him. He says, "Why do you hang on to that fella, Sheila? Why don't you forget him?" Sheila goes on to explain her appreciation for Barney for helping build her career by getting a lead in his play. It's odd that one of the people in the film with the most sense is the one who ends up in an insane asylum. In the scene where Sheila visits William in the insane asylum, however, she acknowledges, "Maybe we're on the wrong side of the table". Perhaps William thinks he, himself, is truly crazy for surrounding himself with a circle of characters in the film who are either annoying (Eloise Shaw played by Natalie Shafer), greedy (Paula Costello played by Virginia Field), nosey (Bess Michales played by Benay Venuta), frustratingly naïve (Sheila), or downright abusive (Hayward). The only character besides William with a reasonable amount of sense or level-headedness throughout most of the film is John Friday played by Tom Conway. These characters would be enough to drive anyone crazy so when William says he'd like to live this year over again, as well, he is likely thinking "far, far away from these people."
On a final note, I'd like to give kudos to Louis Sackin, the editor of the film, who provides a beautifully-paced first fifty minutes of introducing the viewer to all the main characters amidst a backdrop of New Year's Eve and New Year's Day. The film doesn't 'visually' show what had originally happened to the characters in 1946, as it's told verbally mostly by Sheila in bits and pieces throughout the film. As viewers, we are left to visualize what Sheila is telling us while 1946 transpires for the characters for the second time, and this multitasking helps to prevent the pace of the film from dragging. I think the viewer's participation of mentally visualizing this also contributes to the "fantasy" element to this film being labelled a "fantasy noir", along with the "noir" element encompassing Sheila's casual discussion with William that she killed her husband and her persistence of staying with him amidst his treatment of her.
The recently restored version of 'Repeat Performance' aired on January 2, 2022, on TCM's Noir Alley hosted by Eddie Muller, and is due to be released on Blu-ray/DVD Dual-Format edition by the film distributor Flicker Alley on January 24, 2022. Be sure to watch the newly restored version instead of the poorer quality versions on You Tube because the stunning cinematography, lighting, and costume design sincerely requires it to fully appreciate and immerse oneself in the beauty of the film. Overall, 'Repeat Performance' is a good film that is helped by its lesser-known cast of actors, the smooth pace of its plot, and beautiful cinematography that provides a shadowy, intimate, and seasonal ambience. Happy New Year!
In addition to its seasonal ambience, a strong point of the film is that the actors have really good chemistry onscreen. This might be somewhat helped by none of them being major superstars of the era. Sometimes, the presence of a major superstar can result in being a distraction that can take the viewer out of the film, thus, losing its immersive quality or, worse, ham it up for the camera or chew the scenery to the point where these superstars overshadow their more nuanced co-stars. The actors, here, work very cohesively together which helps the viewer focus more on the plot and storylines of the characters. Three of the principal actors are Louis Hayward, Joan Leslie, and Richard Basehart.
Hayward is fairly one-dimensional as Barney Page (or two-dimensional when you consider how quickly his character goes from lovingly embracing his wife, Sheila, to becoming angrily suspicious of her actions). Aside from the few peppered moments where Barney makes an attempt at being a loving husband, he is truly a despicable character beyond his drinking problem and, thus, does not exhibit any true redeeming qualities in the film. He's misogynistic and even says, "Darling, you're only a woman. You're not expected to have either judgement or intelligence". He's also repeatedly insulting, condescending, and cheats on Sheila, doing all of this in the presence of their friends and acquaintances. He's even physically abusive, giving her a sharp slap across the face on Christmas Eve.
The frustration of seeing this can make Sheila a very distant character to the viewer and one who I feel could be very difficult to relate to for most viewers. I think this is more in the fault of the screenplay than Joan Leslie's performance as, to my awareness, it doesn't appear that a woman's perspective had been consulted much for this screenplay, if at all, as it had been done so nicely in a film noir such as 'They Won't Believe Me' (Irving Pichel, 1947) with Joan Harrison as producer. Nearly every word uttered from Sheila's mouth is a compassionate stance for someone who is mentally, verbally, and physically abusive to her. She is very interested in saving Barney and acts more as his mother than his wife throughout the film. One must think that she has some sort of Munchausen Syndrome by Proxy when you consider the insults and gaslighting she condones and tolerates from him. Though not a bad performance, Leslie's portrayal of Sheila does come across as if Leslie is trying to remember every line as she's saying it. I've seen this happen with similar examples in other films where actors are so focused on perfecting an accent, or in James Bond films where actors are so focused on not getting hurt in an action scene, that their acting is less focused and suffers for those reasons. Leslie's performance is very sober, sombre, and almost phantom-like throughout most of the film, as if she is a ghost of the future amongst the people of the past which is all happening in the present. It works in that sense, but the tone of her acting style, here, can become a bit relentless at times.
Many performances in films of the Classic Hollywood era, namely the 1930s and 1940s, were textbook and template acting styles that strongly focused on remembering your lines, hitting your cues, and standardized diction and reactionary gestures. Richard Basehart's nuanced performance of William Williams really outshines every other actor in this film; it feels more modern, but not to the extent that it appears uncontrolled or obvious like some of the method acting performances in films of the 1950s. Basehart reminds me of how much of a discovery the acting of John Garfield had been to audiences in the late 1930s and how his acting would evolve into the 1940s. To some extent, the viewer sees the film through William's eyes as Sheila's devotion to Barney also becomes baffling to William even after she tries to explain it to him. He says, "Why do you hang on to that fella, Sheila? Why don't you forget him?" Sheila goes on to explain her appreciation for Barney for helping build her career by getting a lead in his play. It's odd that one of the people in the film with the most sense is the one who ends up in an insane asylum. In the scene where Sheila visits William in the insane asylum, however, she acknowledges, "Maybe we're on the wrong side of the table". Perhaps William thinks he, himself, is truly crazy for surrounding himself with a circle of characters in the film who are either annoying (Eloise Shaw played by Natalie Shafer), greedy (Paula Costello played by Virginia Field), nosey (Bess Michales played by Benay Venuta), frustratingly naïve (Sheila), or downright abusive (Hayward). The only character besides William with a reasonable amount of sense or level-headedness throughout most of the film is John Friday played by Tom Conway. These characters would be enough to drive anyone crazy so when William says he'd like to live this year over again, as well, he is likely thinking "far, far away from these people."
On a final note, I'd like to give kudos to Louis Sackin, the editor of the film, who provides a beautifully-paced first fifty minutes of introducing the viewer to all the main characters amidst a backdrop of New Year's Eve and New Year's Day. The film doesn't 'visually' show what had originally happened to the characters in 1946, as it's told verbally mostly by Sheila in bits and pieces throughout the film. As viewers, we are left to visualize what Sheila is telling us while 1946 transpires for the characters for the second time, and this multitasking helps to prevent the pace of the film from dragging. I think the viewer's participation of mentally visualizing this also contributes to the "fantasy" element to this film being labelled a "fantasy noir", along with the "noir" element encompassing Sheila's casual discussion with William that she killed her husband and her persistence of staying with him amidst his treatment of her.
The recently restored version of 'Repeat Performance' aired on January 2, 2022, on TCM's Noir Alley hosted by Eddie Muller, and is due to be released on Blu-ray/DVD Dual-Format edition by the film distributor Flicker Alley on January 24, 2022. Be sure to watch the newly restored version instead of the poorer quality versions on You Tube because the stunning cinematography, lighting, and costume design sincerely requires it to fully appreciate and immerse oneself in the beauty of the film. Overall, 'Repeat Performance' is a good film that is helped by its lesser-known cast of actors, the smooth pace of its plot, and beautiful cinematography that provides a shadowy, intimate, and seasonal ambience. Happy New Year!
Same Time, Last Year
lugonian19 January 2020
REPEAT PERFORMANCE (Eagle-Lion Studios, 1947), directed by Alfred L. Werker, became this independent studio's initial attempt on a major motion picture. Taken from a 1941 novel by William O'Farrell, and starring Louis Hayward and Joan Leslie, REPEAT PERFORMANCE has often been compared to an earlier release of IT'S A WONDERFUL LIFE (RKO Radio, 1946) starring James Stewart and Donna Reed, in a story set on Christmas Eve revolving around a man getting his chance to see how his life would have been had he not been born. For REPEAT PERFORMANCE, set on New Year's Eve, the central character here wants to relive her previous year so to amend any mistakes made resulting to her tragic outcome.
Opening with an off-screen narration (reportedly by John Ireland) who provides viewers what to expect: "The stars look down on New Year's Eve in New York. They say that fate is in the stars, that each of our year is planned ahead and nothing can change destiny. Is this true? How many times have you said, "I wish I can live this year over again?" This is the story of a woman who did relive one year of her life." The story begins minutes before the strike of Midnight for the New Year of 1947. Gun shots are heard and a woman, identified as Sheila Page (Joan Leslie), an actress of the Broadway play, "Say Goodbye," is seen standing in over her victim, Barney (Louis Hayward), her husband and drunken failed playwright, now deceased. With pounding on the door, the frightened Sheila runs out the back way into the crowded street of New Year's celebrators. Entering a crowded restaurant, Sheila comes to the table of her friend, William Williams (Richard Basehart), leaving his guests to be told elsewhere what she had done. As they leave for the apartment of Sheila's friend and producer, John Friday (Tom Conway) for assistance, Sheila makes a wish to herself wanting to relive 1946 all over again. Suddenly, Sheila finds herself transformed back in time, this time knowing what to expect yet hoping to prevent any mistakes leading to her husband's murder. Others in the cast are Virginia Field (Paula Costello, playwright); Natalie Schafer (Eloise Shaw, a socialite); Ilka Gruning (Mattie, the Maid), and Jean Del Val (Tony, the Waiter).
Often classified as a "film noir" with ingredients of murder and flashback, REPEAT PERFORMANCE is a different type of film noir where flashback isn't played for the benefit of its audience but the central character. This style could be labeled "fantasy noir" without the fantasy elements attached to it. This new premise is good enough to hold interest throughout its 93 minutes.
Regardless of Louis Hayward heading the cast, REPEAT PERFORMANCE is Joan Leslie's film from start to finish. Type-cast as girl-next-door types for Warner Brothers Studio (1941-1946), REPEAT PERFORMANCE was the sort of role Leslie needed to prove she could play mature roles with conviction. Though labeled by many to be her finest screen performance up to that time, her subsequent roles, often forgettable, failed to give her this same opportunity again. Interestingly, Leslie got to appear in its 1989 made for television re-title remake of TURN BACK THE CLOCK starring Connie Sellecca, with Leslie having a cameo playing a party guest. Louis Hayward makes due as her boozing playwright husband who falls clutches to another playwright (Virginia Field) of the theater. Tom Conway resumes his droll suave character type he had done for RKO Radio in the "Falcon" mystery series (1942-1946), while Richard Basehart (in movie debut) nearly steals the show as Leslie's closest friend and poet, William Williams. It is his character, who later realizes he's also living 1946 all over again, to be the one to come up with the result whether if destiny can be changed or will the outcome always remain the same?
Though REPEAT PERFORMANCE did have numerous commercial television broadcasts dating back to the 1950s, particularly New York City where it last played in June 1978 on WNEW, Channel 5, the film in itself did have limited cable television showings (Arts and Entertainment) in 1986 before disappearing from view for many years to come. With no known availability on video cassette, thanks to Turner Classic Movies cable for giving REPEAT PERFORMANCE its long overdue revival (TCM premiere: December 28, 2019) on its weekly series, "Noir Alley" as hosted by Eddie Muller with his very interesting insights on the movie and actors before and after the movie, with hope with future revivals or repeat performances to make this a better known product from the "film noir" genre. (***)
Opening with an off-screen narration (reportedly by John Ireland) who provides viewers what to expect: "The stars look down on New Year's Eve in New York. They say that fate is in the stars, that each of our year is planned ahead and nothing can change destiny. Is this true? How many times have you said, "I wish I can live this year over again?" This is the story of a woman who did relive one year of her life." The story begins minutes before the strike of Midnight for the New Year of 1947. Gun shots are heard and a woman, identified as Sheila Page (Joan Leslie), an actress of the Broadway play, "Say Goodbye," is seen standing in over her victim, Barney (Louis Hayward), her husband and drunken failed playwright, now deceased. With pounding on the door, the frightened Sheila runs out the back way into the crowded street of New Year's celebrators. Entering a crowded restaurant, Sheila comes to the table of her friend, William Williams (Richard Basehart), leaving his guests to be told elsewhere what she had done. As they leave for the apartment of Sheila's friend and producer, John Friday (Tom Conway) for assistance, Sheila makes a wish to herself wanting to relive 1946 all over again. Suddenly, Sheila finds herself transformed back in time, this time knowing what to expect yet hoping to prevent any mistakes leading to her husband's murder. Others in the cast are Virginia Field (Paula Costello, playwright); Natalie Schafer (Eloise Shaw, a socialite); Ilka Gruning (Mattie, the Maid), and Jean Del Val (Tony, the Waiter).
Often classified as a "film noir" with ingredients of murder and flashback, REPEAT PERFORMANCE is a different type of film noir where flashback isn't played for the benefit of its audience but the central character. This style could be labeled "fantasy noir" without the fantasy elements attached to it. This new premise is good enough to hold interest throughout its 93 minutes.
Regardless of Louis Hayward heading the cast, REPEAT PERFORMANCE is Joan Leslie's film from start to finish. Type-cast as girl-next-door types for Warner Brothers Studio (1941-1946), REPEAT PERFORMANCE was the sort of role Leslie needed to prove she could play mature roles with conviction. Though labeled by many to be her finest screen performance up to that time, her subsequent roles, often forgettable, failed to give her this same opportunity again. Interestingly, Leslie got to appear in its 1989 made for television re-title remake of TURN BACK THE CLOCK starring Connie Sellecca, with Leslie having a cameo playing a party guest. Louis Hayward makes due as her boozing playwright husband who falls clutches to another playwright (Virginia Field) of the theater. Tom Conway resumes his droll suave character type he had done for RKO Radio in the "Falcon" mystery series (1942-1946), while Richard Basehart (in movie debut) nearly steals the show as Leslie's closest friend and poet, William Williams. It is his character, who later realizes he's also living 1946 all over again, to be the one to come up with the result whether if destiny can be changed or will the outcome always remain the same?
Though REPEAT PERFORMANCE did have numerous commercial television broadcasts dating back to the 1950s, particularly New York City where it last played in June 1978 on WNEW, Channel 5, the film in itself did have limited cable television showings (Arts and Entertainment) in 1986 before disappearing from view for many years to come. With no known availability on video cassette, thanks to Turner Classic Movies cable for giving REPEAT PERFORMANCE its long overdue revival (TCM premiere: December 28, 2019) on its weekly series, "Noir Alley" as hosted by Eddie Muller with his very interesting insights on the movie and actors before and after the movie, with hope with future revivals or repeat performances to make this a better known product from the "film noir" genre. (***)
Do luvvies belong in film noir?
kalbimassey17 December 2021
Successful stage actress Joan Leslie has devised a most unconventional way of ushering in the New Year, she murders husband. ( Louis Hayward) Overwhelmed by grief, guilt and remorse, her one resolution would be to relive the previous twelve months. Unlike most resolutions, which have either been binned or forgotten by mid January, Lesley receives the full monty, the whole of 1946 to make amends.
Already steeped in fantasy, from this point anything outlandish or outrageous becomes an out-take. The first impression is of a colossal missed opportunity to portray a mesmeric shift in lifestyle, resulting in radically different circumstances and outcomes. Further consideration reveals a harder truth, the grating realism of a loveless marriage, the overpowering influence of domineering peers and the frustration of dealing with others too spineless or stubborn to heed warnings. As the year proceeds, Leslie manages only a series of tweaks and fine tunings rather than a full service. Ultimately the movie descends into a catalogue of rancour and spite, punctuated by Hayward's drunken ramblings and Basehart's battle with mental health issues. Meanwhile, debonair Tom Conway provides the voice of calm and reason.
It's all professionally performed and fairly polished, but like the similarly styled, Velvet Touch, (1948) overly talky and mannered. It's not pretty, but it's not gritty either and you almost yearn for someone to break a leg in the literal sense to register some points on the action chart. For all its laudable intentions, not least the imaginative premise, Repeat Performance comes of as stiff, stilted and frankly too stagy....dahling.
Already steeped in fantasy, from this point anything outlandish or outrageous becomes an out-take. The first impression is of a colossal missed opportunity to portray a mesmeric shift in lifestyle, resulting in radically different circumstances and outcomes. Further consideration reveals a harder truth, the grating realism of a loveless marriage, the overpowering influence of domineering peers and the frustration of dealing with others too spineless or stubborn to heed warnings. As the year proceeds, Leslie manages only a series of tweaks and fine tunings rather than a full service. Ultimately the movie descends into a catalogue of rancour and spite, punctuated by Hayward's drunken ramblings and Basehart's battle with mental health issues. Meanwhile, debonair Tom Conway provides the voice of calm and reason.
It's all professionally performed and fairly polished, but like the similarly styled, Velvet Touch, (1948) overly talky and mannered. It's not pretty, but it's not gritty either and you almost yearn for someone to break a leg in the literal sense to register some points on the action chart. For all its laudable intentions, not least the imaginative premise, Repeat Performance comes of as stiff, stilted and frankly too stagy....dahling.
The choice is clear
ArtVandelayImporterExporter5 January 2022
Joan Leslie shoots her husband dead on New Year's Eve, then is so filled with regret she wishes for - and gets - a 1946 do-over. Fascinating premise.
Except instead of taking any action to change her fate, she merely whines a lot. Therefore, as far as I can tell, she relives 1946 as a repeat performance as a doormat to her alcoholic failure of a husband.
If I'm Joan Leslie, and I find myself with a 365-day rewind, I run away from that loser when he comes home drunk on New Year's Day 1946. Why wait another 365 days to shoot him?
There are three supporting players of note: Natalie Schafer (Luvie on Gilligan's Island) as a cougar. Richard Basehart (Admiral Nelson from Voyage To The Bottom Of The Sea) doing a spot-on Robin Williams impression (depressive phase). And the always-charming Tom Conway (The Falcon).
The latter two are so evidently in love with Leslie I lost sympathy for her long before the twist ending. At which point I pretty much blamed her for her own misery.
Except instead of taking any action to change her fate, she merely whines a lot. Therefore, as far as I can tell, she relives 1946 as a repeat performance as a doormat to her alcoholic failure of a husband.
If I'm Joan Leslie, and I find myself with a 365-day rewind, I run away from that loser when he comes home drunk on New Year's Day 1946. Why wait another 365 days to shoot him?
There are three supporting players of note: Natalie Schafer (Luvie on Gilligan's Island) as a cougar. Richard Basehart (Admiral Nelson from Voyage To The Bottom Of The Sea) doing a spot-on Robin Williams impression (depressive phase). And the always-charming Tom Conway (The Falcon).
The latter two are so evidently in love with Leslie I lost sympathy for her long before the twist ending. At which point I pretty much blamed her for her own misery.
i never forgot this movie i saw on a rainy sunday 20 years ago.
maryr_328 August 1999
the problem is, i cant locate a copy of this movie. i have looked for literally years, ever since vcrs became popular, and it is nowhere to be found. for some reason i remember the plot of a woman getting to relive the past year with incredible fondness. it was indeed a delightful movie, and i would so much love to see it again.
if you think you'd like to repeat the past...
blanche-230 August 2017
Joan Leslie stars with Louis Hayward, Tom Conway, Richard Basehart, and Virginia Field in "Repeat Performance" from 1947.
I actually saw what I thought was a very good TV movie version of this - "Turn Back the Clock" with Connie Selleca, David Dukes, Jere Burns, Gene Barry, and Dina Merrill.
Leslie plays a stage actress, Sheila Page who, at the very beginning of the film, on New Year's Eve, shoots her husband. Panicked, she meets up with a close friend, William, and heads for a New Year's party at her producer's (Tom Conway) apartment. She says she wishes she could do the whole year over. When she turns to her friend, he's gone, she's in last year's gown, and the New Year's Eve party is for the previous year. She's gotten her wish.
Well, we know how these things usually turn out -- but the way it turns out is interesting, to say the least.
This is a noirish film, and everyone is very good - Leslie is glammed-up and appropriately confused. Hayward is effective as an obnoxious drunk, Field an arch femme fatale, and Basehart as a good friend. I have to admit, in "Turn Black the Clock," things are a little more fleshed out, especially the Basehart and Field roles, and I actually liked that aspect better.
Nevertheless, this is a fascinating film from the '40s.
I actually saw what I thought was a very good TV movie version of this - "Turn Back the Clock" with Connie Selleca, David Dukes, Jere Burns, Gene Barry, and Dina Merrill.
Leslie plays a stage actress, Sheila Page who, at the very beginning of the film, on New Year's Eve, shoots her husband. Panicked, she meets up with a close friend, William, and heads for a New Year's party at her producer's (Tom Conway) apartment. She says she wishes she could do the whole year over. When she turns to her friend, he's gone, she's in last year's gown, and the New Year's Eve party is for the previous year. She's gotten her wish.
Well, we know how these things usually turn out -- but the way it turns out is interesting, to say the least.
This is a noirish film, and everyone is very good - Leslie is glammed-up and appropriately confused. Hayward is effective as an obnoxious drunk, Field an arch femme fatale, and Basehart as a good friend. I have to admit, in "Turn Black the Clock," things are a little more fleshed out, especially the Basehart and Field roles, and I actually liked that aspect better.
Nevertheless, this is a fascinating film from the '40s.
Noir with time travel fantasy element proves watchable despite heavy melodramatic underpinnings
Turfseer26 September 2020
Warning: Spoilers
Repeat Performance" is a unique film noir that ventures into the realm of time-travel fantasy. The story begins similarly to "It's a Wonderful Life," with an unidentified heavenly narrator informing us that actress Sheila Page (Joan Leslie) is about to experience a celestial intervention due to a grave predicament. However, unlike the identifiable angels in the iconic film, the source of intervention in "Repeat Performance" remains enigmatic. Sheila finds herself in deep trouble after killing her husband, Barney (Louis Hayward), in their apartment on New Year's Eve.
Instead of turning to the police, Sheila seeks help from her producer, John Friday (Tom Conway). It is at this pivotal moment that Sheila's wish to relive the entire year is mysteriously granted. The sudden deus ex machina is unsatisfying due to its unexplained nature-it simply happens. Sheila finds herself at Friday's place, donning a new outfit, and soon realizes she has been transported back to the previous New Year's Eve.
While "Repeat Performance" eventually devolves into ordinary melodrama, the central premise remains intriguing, as viewers are left wondering how Sheila will prevent herself from killing Barney or, conversely, if she will be unable to change the fateful outcome.
Initially, Sheila's primary concern is ensuring that she avoids a trip to London, where she knows she will meet Paula Costello (Virginia Fields), a promising playwright. Sheila is aware that Paula will engage in an affair with Barney, ultimately leading to their relationship's demise and the fatal encounter the following New Year's Eve. To alter destiny, Sheila attempts to keep Barney by her side and takes him to Hollywood for several months. Despite Friday's insistence on casting her in Paula's play, Sheila smartly declines, recognizing that agreeing to such a request would only recreate the situation she aims to avoid. However, a weak plot point arises when Sheila agrees to be in the play after Friday reassures her that Paula will stay in London (unaware that Paula will change her mind and return to New York). Sheila's failure to anticipate Paula's potential return is necessary for the narrative to progress.
The melodrama intensifies in the film's second half. Barney, a once-promising playwright now plagued by writer's block, spirals into alcoholism and bitterness toward Sheila, who has risen to stardom. Despite Barney's mistreatment, Sheila believes that her unwavering love will transform him. When Barney becomes paralyzed after a drunken fall, Sheila continues to care for him, hoping he will change. Throughout his months of recuperation, Barney resents Sheila and refuses to speak to her, hiding the fact that he regains the ability to walk.
A significant subplot involves poet William (Richard Basehart), whom Sheila warns early on about getting involved with the wealthy socialite Mrs. Shaw (Natalie Schafter, known for her role on Gilligan's Island). Eventually, Shaw has William committed to an insane asylum, although the specific reasons for his mental decline remain unexplained. Sheila visits William at the asylum and comments that he was destined to escape on New Year's Eve.
Another weak plot point emerges when Sheila insists that Friday accompany her back to her apartment on New Year's Eve, fearing that Barney might harm her there. Initially, Friday is supposed to stay until the New Year, but inexplicably, Sheila allows him to leave after the housekeeper informs her that Barney left to see Paula, who boarded a ship bound for London. As expected, Paula provokes Barney's anger by blaming Sheila for their ruined relationship, driving him back to the apartment with the intent to kill her. With Friday's departure, events align with their original course.
The twist ending sees William arriving at the apartment and shooting Barney to death just as he attempts to kill Sheila. William delivers the film's most memorable line: "Destiny's a stubborn old girl. She doesn't like people interfering with her plans. Anyway, I don't think she cares about the pattern as long as the result is the same."
"Repeat Performance" would have benefitted from further exploration and explanation of its fantasy elements while toning down the melodrama. Louis Hayward's performance becomes increasingly over-the-top in the second half, as his character's deluded obsession with seeking revenge on Sheila becomes apparent. Joan Leslie delivers a convincing portrayal of the innocent protagonist, and the supporting cast prevents the film from sinking into complete obscurity. It is worth noting that the supporting players shine in contrast to the lackluster 1989 remake titled "Turn Back the Clock."
In summary, "Repeat Performance" stands out as a film noir that daringly incorporates time-travel fantasy. While the lack of explanation for the fantasy elements and the excessive melodrama hinders the film's impact, the central premise and the performances of the supporting cast make it worth watching. I would rate "Repeat Performance" a solid 6.0 out of 10.
Instead of turning to the police, Sheila seeks help from her producer, John Friday (Tom Conway). It is at this pivotal moment that Sheila's wish to relive the entire year is mysteriously granted. The sudden deus ex machina is unsatisfying due to its unexplained nature-it simply happens. Sheila finds herself at Friday's place, donning a new outfit, and soon realizes she has been transported back to the previous New Year's Eve.
While "Repeat Performance" eventually devolves into ordinary melodrama, the central premise remains intriguing, as viewers are left wondering how Sheila will prevent herself from killing Barney or, conversely, if she will be unable to change the fateful outcome.
Initially, Sheila's primary concern is ensuring that she avoids a trip to London, where she knows she will meet Paula Costello (Virginia Fields), a promising playwright. Sheila is aware that Paula will engage in an affair with Barney, ultimately leading to their relationship's demise and the fatal encounter the following New Year's Eve. To alter destiny, Sheila attempts to keep Barney by her side and takes him to Hollywood for several months. Despite Friday's insistence on casting her in Paula's play, Sheila smartly declines, recognizing that agreeing to such a request would only recreate the situation she aims to avoid. However, a weak plot point arises when Sheila agrees to be in the play after Friday reassures her that Paula will stay in London (unaware that Paula will change her mind and return to New York). Sheila's failure to anticipate Paula's potential return is necessary for the narrative to progress.
The melodrama intensifies in the film's second half. Barney, a once-promising playwright now plagued by writer's block, spirals into alcoholism and bitterness toward Sheila, who has risen to stardom. Despite Barney's mistreatment, Sheila believes that her unwavering love will transform him. When Barney becomes paralyzed after a drunken fall, Sheila continues to care for him, hoping he will change. Throughout his months of recuperation, Barney resents Sheila and refuses to speak to her, hiding the fact that he regains the ability to walk.
A significant subplot involves poet William (Richard Basehart), whom Sheila warns early on about getting involved with the wealthy socialite Mrs. Shaw (Natalie Schafter, known for her role on Gilligan's Island). Eventually, Shaw has William committed to an insane asylum, although the specific reasons for his mental decline remain unexplained. Sheila visits William at the asylum and comments that he was destined to escape on New Year's Eve.
Another weak plot point emerges when Sheila insists that Friday accompany her back to her apartment on New Year's Eve, fearing that Barney might harm her there. Initially, Friday is supposed to stay until the New Year, but inexplicably, Sheila allows him to leave after the housekeeper informs her that Barney left to see Paula, who boarded a ship bound for London. As expected, Paula provokes Barney's anger by blaming Sheila for their ruined relationship, driving him back to the apartment with the intent to kill her. With Friday's departure, events align with their original course.
The twist ending sees William arriving at the apartment and shooting Barney to death just as he attempts to kill Sheila. William delivers the film's most memorable line: "Destiny's a stubborn old girl. She doesn't like people interfering with her plans. Anyway, I don't think she cares about the pattern as long as the result is the same."
"Repeat Performance" would have benefitted from further exploration and explanation of its fantasy elements while toning down the melodrama. Louis Hayward's performance becomes increasingly over-the-top in the second half, as his character's deluded obsession with seeking revenge on Sheila becomes apparent. Joan Leslie delivers a convincing portrayal of the innocent protagonist, and the supporting cast prevents the film from sinking into complete obscurity. It is worth noting that the supporting players shine in contrast to the lackluster 1989 remake titled "Turn Back the Clock."
In summary, "Repeat Performance" stands out as a film noir that daringly incorporates time-travel fantasy. While the lack of explanation for the fantasy elements and the excessive melodrama hinders the film's impact, the central premise and the performances of the supporting cast make it worth watching. I would rate "Repeat Performance" a solid 6.0 out of 10.
Twilight Zone episode
SnoopyStyle17 September 2020
Warning: Spoilers
It's almost midnight New Year's Eve. Actress Sheila Page shoots her husband Barney dead. She escapes into the celebrating crowd outside. She joins her friends who are partying at a bar. She tells William who takes her to show producer John Friday. She wishes to rewrite her year over again and gets her wish.
The wish giving should be more magical. This is a Twilight Zone episode done in an old Hollywood melodramatic style. It's stretched out. There is a really huge issue with this way of story telling. The audience is struggling to piece together what happened in the year which leads to the murder. The movie needs to show that year before she can make the wish. That way the audience can understand what exactly got changed and what Sheila does to change it. Then there are the characters themselves. I don't think Barney is worthwhile. Sheila shouldn't shoot him but she shouldn't stay with him either. Just get a divorce, girl. I guess that's too simple and wouldn't make for a thrilling movie. The premise is interesting but this would work better as a shorter TV episode rather than a ninety minute movie.
The wish giving should be more magical. This is a Twilight Zone episode done in an old Hollywood melodramatic style. It's stretched out. There is a really huge issue with this way of story telling. The audience is struggling to piece together what happened in the year which leads to the murder. The movie needs to show that year before she can make the wish. That way the audience can understand what exactly got changed and what Sheila does to change it. Then there are the characters themselves. I don't think Barney is worthwhile. Sheila shouldn't shoot him but she shouldn't stay with him either. Just get a divorce, girl. I guess that's too simple and wouldn't make for a thrilling movie. The premise is interesting but this would work better as a shorter TV episode rather than a ninety minute movie.
Unforgettable
cshepko8 July 2000
I saw this film years ago and have never forgotten it. (I share Mary's frustration in not being able to get it on video.) I still remember Richard Basehart being simply brilliant; and Louis Hayward playing the dreadful, faithless husband. Although it's been 30 years since I last saw "Repeat Performance," the compelling plot and the superb acting stay in my mind all these years later. A great film
"Maybe he isn't worth saving. But I've been given a year to try..."
utgard1429 September 2014
I sought this out because I saw the cool movie poster online and thought it looked like an interesting movie. The story is about an actress (Joan Leslie) who shoots her cheating husband (Louis Hayward) on New Year's Eve. She goes to see her producer friend for help but when she arrives at his apartment, she finds that time has turned back a year. She now has a chance to relive the past year and prevent things from happening that led to the shooting.
Curious blend of fantasy and film noir melodrama is a nice starring vehicle for Joan Leslie. She's a little over the top at times but so is the rest of the cast. Louis Hayward, Tom Conway, and Virginia Field are all fine. Richard Basehart is miscast as Leslie's weird poet friend who's in love with her. Think of Clifford Webb in "Laura" and you can imagine how wrong Basehart is for a part like that. The 'Whistler' style narration is a bit much and the movie gives in to soap opera theatrics often. Still, it's interesting and enjoyable to watch, particularly for fans of Joan Leslie.
Curious blend of fantasy and film noir melodrama is a nice starring vehicle for Joan Leslie. She's a little over the top at times but so is the rest of the cast. Louis Hayward, Tom Conway, and Virginia Field are all fine. Richard Basehart is miscast as Leslie's weird poet friend who's in love with her. Think of Clifford Webb in "Laura" and you can imagine how wrong Basehart is for a part like that. The 'Whistler' style narration is a bit much and the movie gives in to soap opera theatrics often. Still, it's interesting and enjoyable to watch, particularly for fans of Joan Leslie.
A woman gets to relive the last year
danashley26 December 2005
WhenI was a kid in the 50's, this film was always shown on TV on New Year's Eve. I would look forward to it and always enjoyed it. As New Year's Eve approaches this year, I just happened to think about it for the first time in years and could not find it on TV, VCR or DVD. I was happy to read the very positive user comments on the quality of the film and lamenting its lack of availability. I note that Leaonard Maltin even dropped this film from his 2006 edition of his guide, perhaps because there is no tape or DVD version. I hope someone, somewhere, with rights to this little gem does release it for home viewing or a TV channel like TCM or PBS finds it in their library and decides to show it, perhaps on a New Year's Eve.
Entertaining fantasy noir
HotToastyRag27 October 2022
When Joan Leslie starts the new year of 1947 with her husband, Louis Hayward, shot dead in the middle of the living room, she flees their home and seeks comfort with friends. When she wishes hard enough for a second chance to live the year over again, she gets a magical reprieve. All of a sudden, it's the start of 1946 and all her friends are confused when she references events that haven't happened yet. It's a great opening to the movie, isn't it?
I really enjoyed Repeat Performance, and had it been Bette Davis and Franchot Tone (Tone was the original casting choice for the husband), it probably would have been an A-tier movie shown on afternoon television. As it was, no one remembers this movie. If the plot interest you, check it out. It has great twists and turns, and although it does have a melodramatic cloud hanging overhead, since it's a silver screen movie, we all forgive the heightened emotions and wild plot twists.
An interesting tidbit about this movie concerns the difference between the screenplay and the original novel. The protagonist was originally the husband, who wishes to relive the year to protect his adulterous wife, but the Production Code felt it wouldn't have gone over well with audiences to see Joan Leslie in that light. Also, Richard Basehart's character, William, was written in the novel as William-Mary, a transvestite. Clearly, the Code wouldn't have allowed that either. What an entrance, though, for Richard! This was his very first movie, and he doesn't seem green or insecure in front of the camera at all.
I really enjoyed Repeat Performance, and had it been Bette Davis and Franchot Tone (Tone was the original casting choice for the husband), it probably would have been an A-tier movie shown on afternoon television. As it was, no one remembers this movie. If the plot interest you, check it out. It has great twists and turns, and although it does have a melodramatic cloud hanging overhead, since it's a silver screen movie, we all forgive the heightened emotions and wild plot twists.
An interesting tidbit about this movie concerns the difference between the screenplay and the original novel. The protagonist was originally the husband, who wishes to relive the year to protect his adulterous wife, but the Production Code felt it wouldn't have gone over well with audiences to see Joan Leslie in that light. Also, Richard Basehart's character, William, was written in the novel as William-Mary, a transvestite. Clearly, the Code wouldn't have allowed that either. What an entrance, though, for Richard! This was his very first movie, and he doesn't seem green or insecure in front of the camera at all.
Another Amazing Joan Leslie Performance
prometheeus1 February 2008
I just saw this film play in a 16mm copy last Friday night ~Jan 25 '08. The brochure stated that there were no usable 35mm prints good enough for playing on a big screen.
It played at The Castro Theatre in San Francisco. Also playing with another unreleased to DVD Joan Leslie movie "The Hard Way"
This well thought out movie has it all. It doesn't sell out the possibilities that could go wrong or against you if you were living it.
The main actors in this stylish film noir romp all were credible in their motives and actions. Seeing Natalie Schafer from Gilligan's Island fame was funny playing a scheming and controlling diva of the arts world. Tom Conway as "everybody's big brother" had a part that he owned. Louis Hayward as the cheating husband and Virginia Field who was playing along with the dangerous and cheating fun. You could tell that there were sparks between them. Those same sparks were missing in the married relationship with Joan.
Basehart was great in his first film role. There were some outrageous corny lines of dialogue that had the audience laughing along with the scene when it wasn't supposed to be funny on screen. But, overall he nailed it in a crucial part.
I hope that this comes to DVD soon while Joan is still around. It would be even more astounding if she herself gave a running commentary to it!!!
It played at The Castro Theatre in San Francisco. Also playing with another unreleased to DVD Joan Leslie movie "The Hard Way"
This well thought out movie has it all. It doesn't sell out the possibilities that could go wrong or against you if you were living it.
The main actors in this stylish film noir romp all were credible in their motives and actions. Seeing Natalie Schafer from Gilligan's Island fame was funny playing a scheming and controlling diva of the arts world. Tom Conway as "everybody's big brother" had a part that he owned. Louis Hayward as the cheating husband and Virginia Field who was playing along with the dangerous and cheating fun. You could tell that there were sparks between them. Those same sparks were missing in the married relationship with Joan.
Basehart was great in his first film role. There were some outrageous corny lines of dialogue that had the audience laughing along with the scene when it wasn't supposed to be funny on screen. But, overall he nailed it in a crucial part.
I hope that this comes to DVD soon while Joan is still around. It would be even more astounding if she herself gave a running commentary to it!!!
Can reliving a year make a difference?
dolytuov29 August 2011
The beginning scene was the only thing that I remembered about this film when I first saw it 40+ years ago. When recently scouring through EPIX and saw the synopsis for it, I watched it. It's and interesting movie, not great, but considering the trip Hollywood is producing today, it is entertaining.
The scene is New Year's Eve and Joan Leslie plays a Broadway star, married to Louis Hayward, who has been unsuccessful in writing another Broadway smash. He is an alcoholic brute who is having an affair with Virginia Fields. Joan's wish is to relieve the year and avoid certain events hoping for a different outcome.
The scene is New Year's Eve and Joan Leslie plays a Broadway star, married to Louis Hayward, who has been unsuccessful in writing another Broadway smash. He is an alcoholic brute who is having an affair with Virginia Fields. Joan's wish is to relieve the year and avoid certain events hoping for a different outcome.
NOT MY CUP OF TEA BUT MAYBE FOR SOMEONE ELSE...!
masonfisk9 January 2020
A weird film noir laced w/fantasy elements from 1947 which concerns an actress who has murdered her husband & wishes she could relive the events again hopefully to avert her fateful deed. Her wish is granted as we see a rerun of the past year play out & see if the crisis can be avoided. Most notable for being Richard Basehart's first film (I remember him from the old TV show Voyage to the Bottom of the Sea & Fellini's La Strada) but being an uneasy mix (w/some dicey performances principally by Louis Hayward who plays the doomed spouse) the cinematic trick doesn't quite work & being it played during the New Year's Eve episode of Noir Alley on TCM & also saved by Eddie Muller's Noir institute, I'm glad it was rescued but this is purely for the noir completists out there.
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