Things to Come

Plot

Things to Come spans nearly a century of human history, beginning in 1940 in the fictional English town of Everytown. When a devastating second World War breaks out and lasts for decades, civilization collapses into plague-ridden anarchy ruled by warlords. In 1970, the progressive technocrat John Cabal emerges to establish a new world order called Wings Over the World, which rebuilds civilization through scientific rationalism and collective planning. By 2036, this utopian society faces internal conflict as some citizens question the relentless pursuit of progress, culminating in a dramatic debate about humanity's future as the first space rocket prepares for launch to the Moon.

Historical Background

Things to Come was produced during a period of intense political tension in Europe, with the rise of fascism in Germany and Italy, and the looming threat of another world war. The film's creation was deeply influenced by H.G. Wells' concerns about the direction of modern society and his belief in scientific rationalism as humanity's salvation. Made in 1936, when rearmament was beginning across Europe but before the full horrors of WWII became apparent, the film served as both warning and prophecy. Its release coincided with the Spanish Civil War and the remilitarization of the Rhineland, events that seemed to validate Wells' pessimistic predictions about imminent global conflict. The film's emphasis on collective planning and international cooperation reflected contemporary debates about how to prevent another world war, while its celebration of technological progress mirrored the modernist optimism of the 1930s, even as dark clouds gathered over Europe.

Making Of

The production of Things to Come was marked by intense collaboration and conflict between H.G. Wells and the filmmakers. Wells, then 70 years old, was determined to see his vision realized exactly as he imagined it, spending long hours on set and often rewriting scenes during filming. Director William Cameron Menzies, though officially credited as production designer, effectively co-directed the film alongside several uncredited directors. The special effects team, led by Lawrence Butler, pioneered numerous techniques including traveling mattes and miniature photography that would become industry standards. The casting was particularly significant - Raymond Massey was Wells' personal choice for the lead, believing his stern, intellectual presence perfectly embodied the rationalist hero. The war sequences were filmed using innovative techniques, including actual explosions and miniature models that were photographed at high speed to create realistic destruction. The production faced numerous delays due to the complexity of the effects work, with the futuristic city models requiring months of construction and testing.

Visual Style

The cinematography, primarily by Georges Périnal, was revolutionary for its time, employing innovative techniques to create the film's visionary future worlds. The use of deep focus photography allowed for complex compositions showing both foreground and background elements in sharp detail, particularly effective in the futuristic city sequences. The film pioneered the use of traveling mattes to combine live action with miniature models, creating seamless integration between actors and elaborate sets. The war sequences utilized handheld cameras and rapid editing to create documentary-like realism, while the future scenes employed smooth, gliding camera movements to convey technological advancement. The lighting design evolved dramatically throughout the film, from the harsh, naturalistic light of the war years to the clean, artificial illumination of the future society. The black and white photography was used to maximum effect, with strong contrasts between the darkness of the war years and the brightness of the technological future.

Innovations

Things to Come was groundbreaking in numerous technical aspects, setting new standards for special effects and production design. The film's miniature effects, supervised by Lawrence Butler, were revolutionary, using forced perspective and innovative camera techniques to create convincing cityscapes and destruction sequences. The development of the traveling matte process allowed for seamless integration of actors with miniature sets, a technique that would become standard in the industry. The film featured some of the earliest uses of process projection for background elements, particularly in the flying sequences. The production design by William Cameron Menzies introduced the concept of 'production designer' as a distinct creative role, with his comprehensive visual approach influencing how films would be designed thereafter. The film's sound recording techniques were also advanced for the time, using multiple microphones and innovative mixing to create complex audio environments. The space launch sequence used revolutionary optical printing techniques to create the illusion of rocket propulsion and space travel.

Music

The musical score was composed by Arthur Bliss, one of Britain's leading classical composers, who created what is considered one of the first truly modern film scores. Rather than using traditional romantic themes, Bliss employed dissonant harmonies and rhythmic complexity to reflect the film's modernist themes. The score was notable for its use of leitmotifs to represent different concepts and characters, with the 'Wings Over the World' theme becoming particularly iconic. Bliss incorporated electronic elements, including the theremin, to create otherworldly sounds for the space sequences. The music was recorded by a full orchestra at EMI's Abbey Road Studios, making it one of the most ambitious film scores of its time. The soundtrack also featured innovative sound design, with the mechanical sounds of the future city created using industrial recordings and manipulated audio. The complete score was later released as a concert suite and remains one of the most celebrated film compositions of the 1930s.

Memorable Scenes

• The opening Christmas Eve sequence where the threat of war looms over festive celebrations, creating a powerful juxtaposition of peace and impending doom
• The devastating air raid on Everytown, featuring groundbreaking special effects of bombing and destruction that proved eerily prophetic
• The emergence of John Cabal in his flying machine, representing the dawn of a new technological age
• The reveal of the futuristic city of 2036, with its sweeping architecture and advanced technology
• The climactic space launch sequence, where humanity reaches for the stars despite internal conflict
• The confrontation between The Boss and John Cabal, representing the clash between barbarism and civilization
• The final debate aboard the space gun about humanity's future, encapsulating the film's central philosophical themes

What Critics Said

Contemporary critical reception was mixed but generally respectful of the film's ambitions. The Times of London praised its 'bold conception and magnificent execution' while noting that Wells' 'didactic purpose sometimes overwhelms the dramatic interest.' American critics were more enthusiastic, with The New York Times calling it 'the most ambitious and thought-provoking science fiction film yet produced.' Over time, critical appreciation has grown significantly, with modern critics recognizing it as a masterpiece of science fiction cinema. Film historian David Shipman called it 'the most important British science fiction film ever made,' while Sight & Sound magazine included it in their list of the greatest films of all time. Contemporary critics particularly praise its visionary production design, its intellectual ambition, and its prescient predictions about future technology and society.

What Audiences Thought

Initial audience reception was somewhat disappointing, particularly in Britain where the film's intellectual tone and didactic elements failed to connect with mainstream moviegoers accustomed to more conventional entertainment. Many found Wells' philosophical speeches heavy-handed and the pacing too slow. However, the film developed a cult following among intellectuals and science fiction enthusiasts who appreciated its serious approach to speculative themes. American audiences were somewhat more receptive, though the film still performed modestly at the box office. Over the decades, audience appreciation has grown substantially, with the film now regarded as a classic by science fiction fans and cinema enthusiasts. Modern audiences often express surprise at how many of the film's predictions about technology and society proved accurate, as well as its relevance to contemporary debates about progress, technology, and human values.

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