I was born in Maryland and spent my first thirty years living there, first in the Appalachian Mountains, then on the Eastern Shore, and later in suburban Washington. After a year in South Carolina, I moved to Georgia in 1977. I soon met another park ranger who worked in Florida. She was a wonderful woman who became my best friend. then my wife, and soon the mother of our three children. I spent over eleven years working in the historic city of Savannah, Georgia, and on the moss-draped sea islands nearby before moving to Atlanta.. In 2007, I retired from the National Park Service and a career dedicated to preserving and interpreting resources and themes in the cultural and natural history of the United States. It was a most rewarding experience. Today, I enjoy living in the rolling hills and woods of the Appalachian Piedmont east of Atlanta.
Things to Come is a journey into the near future as envisioned by the British science fiction genius, H.G. Wells. Released in 1936, the film was directed by the art direction and production design pioneer, William Cameron Menzies, with Wells as the screen writer. In addition, there is a fine score by the British composer, Sir Arthur Bliss. In the century described in the film, we see war, a future Dark Age, world government, glowing cities, and questions about the meaning of progress. Through it all, Menzies and his staff design a world immersed in the aerodynamic elements of Streamline Moderne. The film is nothing short of a visual feast. At the same time, it is a significant historical statement on the perception of the world living the legacy of the horror of World War I and the uncertainly of the Treaty of Versailles. In addition, film buffs will enjoy placing Things to Come in the great timeline of
science fiction films.
In summary, there is a lot of content packed into this film. It may well take two or three viewings to fully appreciate the story, its message and the genius of the production. Readers need to be aware that the film is available in several versions. Unfortunately, none of them approaches a "director's cut," and OTR can't offer much guidance other than avoiding any colorized version. In almost all cases, there's no value added to watching a tinted version of a black and white film masterpiece.
So there you have it, friends, a film full of history, architecture, urban planning, aviation, technology, conflict, emotion, uncertainty, and hope. If you want about two hours of thought-provoking entertainment, readers can certainly find it in Things to Come.
There is no suitable trailer available on YouTube but this excerpt is a good example of what's in store for viewers:
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