The medium of the film has for over a hundred years increasingly made it possible us to almost tangibly immerse ourselves in the past in a way wholly without precedent in the history of the human race. This film was actually a remake of a previous film made relatively recently in 1933 (as is attested to by the presence of Irene Browne looking little changed reprising her role from the original as Lady Ann), but in a medium which had made such strides in technology as to now be able to avail itself of rich early 50's Techicolor to enhance its depiction of the 18th Century. Nearly 70 years, however, has now elapsed since this version was made, and any performance by Tyrone Power has for nearly sixty years carried the baggage of the knowledge that he himself died young (as did Leslie Howard who starred in the original).
Whereas Howard in the 1933 version views journeying back into the 18th Century as an adventure, Power is plainly motivated more by a desire to escape from the monochrome bleakness of the Atomic Age into what he fondly images to be a gayer, simpler era. With his permanent five o'clock shadow, the more obviously American Power looks far more out of place in a powdered wig than Howard ever does, (SPOILER COMING) and he is rapidly disillusioned by the squalid realities of the Age of Reason.
Whereas Howard in the 1933 version views journeying back into the 18th Century as an adventure, Power is plainly motivated more by a desire to escape from the monochrome bleakness of the Atomic Age into what he fondly images to be a gayer, simpler era. With his permanent five o'clock shadow, the more obviously American Power looks far more out of place in a powdered wig than Howard ever does, (SPOILER COMING) and he is rapidly disillusioned by the squalid realities of the Age of Reason.