- Actors: Wendy Hiller, Roger Livesey, George Carney, Walter Hudd, Duncan MacKechnie
- Directors: Emeric Pressburger, Michael Powell
- Writers: Emeric Pressburger, Michael Powell
- Producers: Emeric Pressburger, Michael Powell, George R. Busby
- Format: Black & White, Closed-captioned, DVD-Video, NTSC
- Language: English
- Subtitles: English
- Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
- Aspect Ratio: 1.33:1
- Number of discs: 1
- MPAA Rating:
- Studio: Criterion
- Release Date: Oct. 1 2002
- Run Time: 91 minutes
- Average Customer Review: 35 customer reviews
- ASIN: B00004XQMY
- Amazon Bestsellers Rank: #7,122 in Movies & TV Shows (See Top 100 in Movies & TV Shows)
I Know Where I'm Going! (Full Screen)
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In Michael Powell and Emeric Pressburger's stunningly photographed comedy, romance flourishes in an unlikely place-the bleak and moody Scottish Hebrides. Wendy Hiller stars as a headstrong young woman who travels to these remote isles to marry a rich lord. Stranded by stormy weather, she meets a handsome naval officer (Roger Livesey) who threatens to thwart her carefully laid-out life plans.
Assured, headstrong Joan Webster (Wendy Hiller) knows exactly what she wants and how to get it, until she's stranded in a rough, windswept Scottish village--in sight but out of reach of an island where a rich fiancée, a lavish wedding, and a loveless marriage await. While a raging storm prevents her crossing, a quiet, modest, and penniless Scottish laird named Torquil (Roger Livesey) slowly wins her cheerfully mercenary heart and upsets her carefully arranged plans with messy emotions. Michael Powell and Emeric Pressburger's much-loved romantic drama is a handsome work full of vivid, offbeat characters (Pamela Brown is especially striking as an earthy villager always accompanied by a pack of bloodhounds) living in a world that's part tradition and part myth. Villagers work and celebrate with the simple spirit of common folk ("We're not poor, we just haven't any money," Torquil admonishes the materialist Joan). Powell brings his lively manner and bold visual invention to the creation of his beautiful but harsh primal paradise, culminating in the awesome spectacle of a massive whirlpool that could be the work of the "legend of Corryvreckan" or the stormy embodiment of Joan's hysterical heart. Awash in mystic power of ancient castles and chanted legends, I Know Where I'm Going is one of the most romantic visions of Britain's most magical director. --Sean Axmaker
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Did not recognize the code given and took a chance. Sadly I could not play it here. Perhaps a note in the details stating that it is not playable in present format in Canada and US would be hepful.
I know who's going with me,"
A young lady (Windy Hiller) pretty much knows what she wants in life. On her way to her wedding on a remote Scottish island she is delayed long enough to experience a different way of life and a reality that she was never exposed to. Here she finds different values and the difference between real nobility and the early version of plastic money. She is overwhelmed by her new discovery and the man (Roger Livesey) who introduced her to it. Now she must desperately escape or be lost forever in this different world.
I was surprised to find that a young girl in the movie was Petula Clark.
There are advantages to having a movie with a story that is not based on a book. You can enjoy the story for what it is and not have to compare. However this may make a good play. In the Criterion extras you will find speculation on the pro's and con's of remaking the movie.
I would venture to call IKWIG the uber-chick film. It has several of the qualities that succeed so well in romance novels/film making: a self-reliant, intelligent heroine; a rugged hero who is at first perceived as the antagonist; a growth in understanding about the world around her, that allows ultimately for a complete change of POV in the heroine. It is that rare creature, a romance film that isn't a romantic comedy. It has some brilliantly inventive comic moments, especially (and significantly) before the film moves leaves England--like the heroine's dream sequence as she sleeps aboard a train, climaxing in a distant shot from above that has the hills covered in tartan as the train passes into Scotland--but that isn't the focus. (If anything, it is a bit of magical theater that represents a flight *away* from reality, showing us the early values of the heroine; just as the culture she finds in the Hebrides becomes a massive section of magical theater which, less brilliant, hammers away at her preconceptions both through its human and elemental aspects.)
However, there are many things about IKWIG that lift it above the chick film genre presented by such horrific stuff as Scriptless in Seattle. Powell was in love with the Hebrides, and, unusually for a fictional film of this period, IKWIG is filled with the culture of its surroundings. There's no sense of embarassing "types" as in so many Hollywood films-on-location, but rather more than a dozen subsidiary characters, none of them models, who fit naturally into their assigned roles, with or without dialog, and contribute to the film's sense of otherness. The writing is unsentimental and never cloys, but brings out many of the local traditions, superstitions, and myths surrounding the Hebrides in a natural and seemingly impromptu fashion; so that when we attend a party given in honor of the sixtieth wedding anniversary of the Laird of the Campbells, we actually see three bagpipers playing as the floor shakes under the heels of dancers; and we witness an extremely good amateur a capella group sing a glee. IGWIG takes its time to give us the full value of these things, and we're left grateful for the sense of connection. How different it feels than Pretty Lady, with a cliched plot hitched to endless shopping sprees and "let's do lunch" dates.
The extraordinary beauty of the environment was captured live without special effects--in fact, Powell said they never used a smoke machine; all their fog, brilliant sunshine, gales, and scenery were natural. Everything save the interiors (and shots with the Laird; Livesey had a commitment that kept him in London) were made on location, near a village of several hundred inhabitants which was largest settlement on the isle. Erwin Hillier, the editor on the film, was a student of Fritz Lang, and much preferred the heavily contrasted depth photography he'd been trained in to the soft-edged, romantic tone of Hollywood, or the stolidly outlined b&w of contemporary British films.
The script is subtle, rich, and impeccably characterized, with a lot going on beneath the surface. (For example, it's a film about growing up emotionally; of coming to terms with the world around you, and determining what values are real. Yet on another level, there's an unstated three-way contrast among the heroine, an ambitious, educated, lower-class girl, the tycoon and his new money, waiting out the war safely in his island castle, and the traditional upper-middle class landowners and gentry of the Hebrides, impoverished by war deprivations but quietly, heroically making do.) The acting is flawless, without any of the "beautiful people" syndrome in evidence which has so dogged cinema over the years. A comparative failure upon its release (critics and audience weren't in the mood for mystical landscapes and romance after WWII), it's racked up numerous awards and a very large following, since. Martin Scorsese speaks of it as among his favorite films. Although a few stylistic points creak with age (notably the use of music in the background behind dialog in some sections), this is a powerful, lyrical, intimate film with enormous replay value, thanks to the great subtlety of its images and performances. If you're looking for the perfect film to see with a date, or a loved one, consider this. Even if you're not, consider it, anyway. You won't regret it.
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This movie is one of the more interesting that I have seen.Read more