I just caught a few minutes of it and I was guessing 1957. Maybe it was the lack of color, and also the scene I saw was a lobby of a nice hotel, so there weren't any counterculture types or longhairs. But the feeling was much more late 50s than early 60s.
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You're very perceptive. I came to the same conclusion--but for a less impressive
(as far as vis-à-vis your having to some extent an "intuitive feeling" about it), more straightforward (admittedly more likely to hold up in court, as it were) reason.
Pennsylvania Station (built 1910 by the legendary McKim, Mead and White), in no doubt the most egregious act of vandalism ever perpetrated upon a public monument, was at the beginning of 1963 (It lasted all of 50 some years!!) in the early throes of its demolition by fiat of some of New York City's most despicable power brokers. (As you can tell I didn't think much of this development). Anyway, this was the Penn Station shown in the movie. And I'm sure actual use of the station had already no doubt ceased sometime in '62. So I think we're talking at least a four-year difference there.
In fact, I was very surprised (given the stated year of the movie) when, after several characters had mentioned Penn Station, and they actually switched to the scene there, to see that it was indeed the spectacularly cavernous waiting hall of the original Pennsylvania Station. If you've never seen this edifice google it and I guarantee that you'll have an urge to dig up the individuals responsible for its destruction and...well, you'll be mad, that's all.
What I find a bit surprising is that two such big names in film were in a movie that was shot in B/W. Was it that expensive to shoot color? I've seen some very low budget movies with relatively minor stars that were shot in color 10 or 15 years earlier.
shareThat's a good question.
I recently saw Roman Holliday and was really surprised it wasn't in color, considering the fantastic location scenes in Rome. But as another poster says, that would have required flying flim out of Rome to London for processing.
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Black and white was not a low-budget constraint, it was an aesthetic preference.
shareIMO it was the wrong kind of film for that treatment. This was a lighthearted story about a pretty girl growing up, a rascally newsman smitten with her, and all in a picturesque city. It was a natural for Technicolor. It wasn't "The Loneliness of the Long Distance Runner" or "The Pawnbroker."
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Well put. I get so tired of people being critical about whether a film is shot in black & white or color. In fact, if I'm trying to decide which of two films to watch, I pick the black & white one the biggest majority of the time. Dear Heart is a special film. I love the ending. In fact, the only romantic ending I like more is the one in ' Love with the Proper Stranger '.
share