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Repeat Performance
Theatrical release poster
Directed byAlfred L. Werker
Screenplay byWalter Bullock
Based onRepeat Performance
1942 novel
by William O'Farrell
Produced byAubrey Schenck
StarringLouis Hayward
Joan Leslie
Tom Conway
CinematographyL. William O'Connell
Edited byLouis Sackin
Music byGeorge Antheil
Color processBlack and white
Production
company
Bryan For Productions
Distributed byEagle-Lion Films
Release date
  • May 22, 1947 (1947-05-22)
Running time
92 minutes
CountryUnited States
LanguageEnglish
Budget$600,000[1] or $1.3 million[2]

Repeat Performance is a 1947 American film noir (with fantasy elements) starring Louis Hayward and Joan Leslie. The film was released by Eagle-Lion Films, directed by Alfred L. Werker, and produced by Aubrey Schenck.

Plot

[edit]

On New Year's Eve 1946, Sheila Page stands over her dead husband Barney with a gun in her hand. She panics and arrives at a party, requesting two friends for help. There, William suggests she should see theatrical producer John Friday for advice. She arrives at Friday's apartment, and as she ascends the stairs, she wishes that she could live 1946 all over again. William suddenly disappears, and she is transported back to New Year's Day 1946. At Friday's apartment, she decides not to perform in a play Saying Goodbye in London she had played in the future, which baffles Friday.

She returns to her apartment and embraces a live Barney. They invite their friends, including Friday, for a New Year's Day breakfast, where Sheila warns William to avoid Eloise Shaw, who will have him committed to an insane asylum. To Sheila's surprise, English playwright Paula Costello crashes the party and flirts with Barney. He and Sheila argue, in which Barney leaves to go out drinking. Sheila begins to question whether fate really does exist. The next morning, Barney returns home drunk.

Determined to keep Barney from seeing Paula, Sheila travels to California with Barney. There, Barney reads Paula's new play Saying Goodbye, which Sheila remembers performing in the original timeline. However, she refuses to perform in the play and angers Barney, after stating he wastes his time reading other plays and not finishing his own. Friday arrives and convinces her to perform in the play. During rehearsals, Barney arrives with Paula, and Sheila tries to convince Sheila to rewrite the final act.

As the play continues its yearly run in New York, Barney and Paula continue their affair. At a Thanksgiving party at the theatre, Barney gets drunk, insults Sheila, and kisses Paula on the balcony. When they are discovered, Barney falls over the edge and near the railing of the stage. Barney is immobilized from a brain paralysis, and Sheila quits the play to help him recover. Meanwhile, Sheila learns from Eloise that William has been committed to an insane asylum and goes to visit him. Sheila reminds him of her earlier statements about reliving 1946, and advises him he will walk out of the asylum on New Year's Eve.

On Christmas Eve, Sheila reprises her stage role, leaving Barney alone with their housemaid. Paula arrives at their apartment where Barney considers returning with her to London. Sheila arrives home and confronts Paula as she's walking out on Barney. On New Year's Eve, Sheila finishes her performance, and asks Friday to accompany her to the apartment. There, she finds a note from Barney stating he left her for Paula, and that he can walk again with the aid of a cane. Before the ship sails, Barney arrives in Paula's stateroom but she rejects him.

Angered, Barney returns to their apartment and confronts Sheila wanting to kill her. As Barney prepares to strike, he is shot dead from behind by William. The police arrive a moment later and arrest William. He reminds Sheila that they can't do anything to him since he has already been declared mad. As he is being taken into custody, William verbalizes, "Destiny is a stubborn old girl, Sheila. She doesn't like people interfering with her plans, but we tricked her, didn't we? Anyway, I don't think she cares about the pattern as long as the result is the same."

Cast

[edit]

Production

[edit]

There were various actors and directors in mind for the film, with Jules Dassin once in mind to direct while Franchot Tone and Constance Dowling were tapped in mind for the lead roles. Eventually, Dowling was dropped for Sylvia Sidney in mind. All of the considerations would instead be scrubbed for Alfred L. Werker to direct for Joan Leslie and Louis Hayward.

The film reversed the original story that involves Barney having been the one killing his lover before he relives the previous year and Sheila being a drunk. This was evidently done due to the perception that Joan Leslie could not play a villain.[1] Also, in the book by William O'Farrell, the Richard Basehart character called William Williams was a cross dressing poet.[3]

Filming began November 1946.[4]

Eagle-Lion, noticing the good reviews for Basehart, gave him higher billing and even gave the film a premiere showing in his home town of Zanesville, Ohio.

Restoration

[edit]

The film was restored after a screening in 2007 featuring a guest appearance by cast member Joan Leslie resulted in the discovery that a 35mm print had badly decomposed.

The UCLA Film and Television Archive, The Packard Humanities Institute, The Film Noir Foundation, and others then followed with restoration of the film, now available on Blu Ray.[3]

Remake

[edit]

This film was remade as the television film Turn Back the Clock (1989) directed by Larry Elikann. It featured Connie Sellecca, David Dukes, Jere Burns, Wendy Kilbourne and original cast member Joan Leslie.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Repeat Performance

View on Grokipedia
from Grokipedia
Repeat Performance is a American with supernatural fantasy elements, directed by Alfred L. Werker and starring as Broadway actress Page and as her husband Barney Page. In the story, shoots Barney on 1946 amid a failing marriage marked by his and , then tearfully wishes she could relive the year to prevent the downward spiral of events; her wish is mysteriously granted, sending her back to , 1946, where she struggles to alter fate despite foreknowledge of key betrayals and tragedies involving friends like poet William Williams (, in his film debut). The film, produced and distributed by with a screenplay by Walter Bullock, runs 93 minutes in black-and-white with mono sound and premiered on May 22, 1947, in . It adapts the 1942 novel Repeat Performance by William O'Farrell, published by Houghton Mifflin, which similarly explores time regression amid theatrical ambitions, adultery, and in New York's Broadway scene but from Barney's perspective and with key plot divergences, such as a subway-induced time warp instead of the film's simpler wish-fulfillment device. Upon release, Repeat Performance met with largely negative critical reception for its implausible premise and pacing, as noted by , and achieved only modest box-office returns as a mid-tier "prestige" production from the low-budget Eagle-Lion studio. The film largely faded from view after its initial run until a 2022 restoration by the Film Noir Foundation in collaboration with UCLA Film & Television Archive and the Packard Humanities Institute revived it, highlighting its blend of genre conventions and themes of inescapable destiny in a backstage framework.

Development

Source Material

Repeat Performance is a novel written by William O'Farrell and published in by Houghton Mifflin Company. The story revolves around Barney Page, a down-and-out Broadway actor haunted by guilt over his wife Sheila's , the institutionalization of friends, and his own of his co-star and mistress Fern Costello. On , Page experiences a time reversal, awakening on April 11 of the previous year with foreknowledge of events, granting him an opportunity to avert the tragedies by reliving and rewriting his life. Written and published during , the novel is set in New York City's theater district amid the wartime era, capturing the period's urban atmosphere through references to dates like April 11, 1941. It explores themes of domestic turmoil, including a failing marked by and competing ambitions, and the inexorable pull of fate, as Page's attempts to change his destiny repeatedly lead back to doom. The 1947 significantly alters the source material to center on Page as the , depicting her as a sympathetic and innocent woman who regrets shooting her husband Barney on 1946, in contrast to the novel's portrayal of as more villainous, culminating in her . To streamline the narrative for cinema, the film removes subplots involving the murder of Fern Costello and other secondary characters like Paul Gort, while shifting the time reversal trigger from a subway ride to a en route to a friend's , thereby emphasizing personal agency against fate over the novel's fatalistic tone.

Pre-Production

The screenplay for Repeat Performance was written by Walter Bullock, who adapted William O'Farrell's 1942 by transforming its core premise of regret and repetition—where a character wishes to relive the past to correct mistakes—into a suspenseful framework, opening with a murder on and building tension through and crime elements. Bullock shifted the narrative focus from the husband Barney to the protagonist Sheila Page, a Broadway , eliminating certain elements like a subway time-travel device in favor of a more streamlined fantasy structure that heightened noir suspense, such as altering the climax to center on a direct confrontation between Sheila and Barney. Eagle-Lion Films acquired the rights to the project in 1946, marking the studio's initial venture into higher-budget filmmaking as part of its expansion beyond low-cost B-movies. Producer Aubrey Schenck, assigned to the film in December 1946, played a key role in greenlighting and overseeing the production, leveraging 's resources—founded by for British film distribution—to support this genre-blending effort. Development began in late , with planning emphasizing a fusion of fantasy time-reversal and crime noir to resonate with post-war audiences seeking escapist yet dark narratives amid societal anxieties. This approach positioned the film as a low-to-mid noir with ambitious elements, aiming to broaden Eagle-Lion's appeal through innovative storytelling.

Production

Casting

Joan Leslie was cast as the lead Sheila Page following her departure from in May 1946, after a legal dispute over her and dissatisfaction with being typecast in juvenile roles. Her representatives cited a desire for more mature parts as the primary motivation for challenging the studio agreement she had signed as a minor, allowing her to freelance and take on the dramatic role in Repeat Performance, which marked a shift toward characters. Leslie replaced in the production, a move that elevated the film's budget to highlight her star potential. Louis Hayward portrayed the unstable husband Barney Page, a role that aligned with his established screen persona of charming yet unreliable philanderers in film noir. Returning to acting after serving as a U.S. Marine combat photographer during World War II from 1942 to 1944, Hayward had enlisted early in the conflict and earned a Bronze Star for his work at Tarawa. He stepped in as a replacement for Franchot Tone, bringing a personal edge to the character's decline that mirrored his own post-war career struggles. In the supporting cast, made his film debut as the poet William Williams, having been signed by Eagle-Lion after winning the award for his stage performance in . was selected for the role of John Friday, contributing his suave presence typical of his supporting work in thrillers. , borrowed from Paramount, played Paula Costello, adding to the ensemble's blend of established character actors. The casting process faced challenges primarily from Leslie's contract battles, which transitioned her to independent status but complicated studio negotiations and distribution for the low-budget Eagle-Lion production. Hayward's post-military availability and noir archetype fit helped secure the male lead amid replacements like Tone's unavailability.

Filming

Principal photography for Repeat Performance commenced in late December 1946 at Universal Studios in Universal City, California, and principal shooting concluded by late February 1947, with additional scenes filmed in early May 1947. The production, directed by Alfred L. Werker (who replaced ), was produced by Productions for and represented Eagle-Lion's inaugural effort at major-budget filmmaking, diverging from the studio's typical low-cost output. The film's estimated budget reached $1.3 million, enabling a polished execution completed within approximately two months of primary filming. Cinematographer L. William O'Connell crafted the visual style, employing and dramatic shadows characteristic of to heighten the story's psychological tension. Composer provided an orchestral score that underscored the narrative's suspense and emotional depth, integrating motifs to amplify key dramatic moments. Editor Louis H. Sackin assembled the footage to sustain a taut across the 91-minute runtime, ensuring seamless transitions between the film's temporal shifts and escalating conflicts.

Story and Themes

Plot Summary

On New Year's Eve 1946, Broadway actress Sheila Page shoots her husband, struggling playwright Barney Page, in their New York apartment after a year marked by marital strife, alcoholism, and betrayal. Distraught, she flees through the snowy streets to confess the crime to her close friend, the eccentric poet William Williams, before heading to the nearby apartment of theatrical producer John Friday for advice. En route, Sheila desperately wishes aloud that she could relive the entire previous year and undo the mistakes that led to this fatal moment. Miraculously, her wish is granted through an unexplained supernatural occurrence, and she suddenly finds herself awakening on January 1, 1946, with full foreknowledge of the tragic events to come. Determined to rewrite history and salvage her marriage, Sheila abandons plans to star in a production and instead remains in New York to focus on Barney, whom she finds alive, sober, and affectionate in this reset timeline. At a breakfast party in their , she discreetly warns about the dangers of getting involved with the wealthy but manipulative socialite Eloise Shaw, who has the influence to have him involuntarily committed to a psychiatric . The gathering is disrupted by the uninvited arrival of Paula Costello, Barney's former lover and a volatile aspiring , who flirts provocatively with him; Sheila intervenes to defuse the tension, but a drunken and enraged Barney storms out into the night to pursue Paula. Despite Sheila's best efforts to avert key disasters—such as steering Barney away from a disastrous theatrical venture, preventing his adulterous affair, and stopping Paula from committing amid her emotional turmoil—fate intervenes through subtle variations. Barney's play, Say Goodbye to Yesterday, is produced in Hollywood under John Friday's backing, with Paula in the starring role, reigniting the affair and leading to escalating conflicts. As the year unfolds inexorably toward its end, the couple relocates to , where a celebratory party for the play's success turns catastrophic: in a drunken rage, Barney falls from a , suffering severe brain damage that leaves him partially paralyzed, bitter, and dependent on for care. Her attempts to shield from institutionalization and to support Paula through her deepening despair ultimately fail, as Paula takes her own life by poison. Tensions peak on 1946, when a vengeful Barney, having regained limited mobility, confronts in their Hollywood home, accusing her of and attempting to strangle her as midnight approaches. In a twist of destiny, Williams arrives after escaping from and, in the ensuing struggle, shoots and kills Barney to protect . Though the specifics have altered, the core repeats, leaving to grapple with the realization that certain outcomes cannot be escaped.

Analysis

Repeat Performance employs a motif to delve into profound themes of regret, inevitability, and , as Sheila Page is granted the opportunity to relive the previous year and rewrite her fate following a moment of desperate . This reset highlights the film's exploration of fractured agency, where efforts to escape past mistakes only underscore the inescapable pull of destiny, encapsulated in the narrative's central question: “They say that fate is in the stars … and nothing can change destiny. Is that true?” The motif serves as an early cinematic precursor to temporal repetition tropes in later , such as those in The Twilight Zone episodes and films like (1993), but infuses them with a darker, more pessimistic lens that rejects redemptive fantasy. The film's noir elements subvert traditional conventions, particularly in its portrayal of the archetype; rather than positioning Sheila as a seductive destroyer, she emerges as a victim-heroine navigating moral ambiguity and external threats, with the destabilizing force embodied by male characters like her husband Barney. Shadowy , featuring dynamic crane shots and dolly movements—especially in the disorienting sequences—enhances the atmosphere of unease and intrusion, while voiceover narration frames the story with a fatalistic tone that reinforces themes of inescapable doom. These stylistic choices align with noir's emphasis on and societal decay, reflecting postwar anxieties about personal and institutional control. As a rare 1940s fantasy-noir hybrid, Repeat Performance blends crime thriller conventions with supernatural repetition, creating a genre fusion that critiques post-war marital disillusionment through Sheila's strained relationship and futile quest for renewal. This innovative mix generates metaphysical tension, where the allure of second chances collides with noir's endorsement of fatalism, making attempts at rebirth illusory and underscoring the era's pervasive sense of disillusionment with domestic ideals. By prioritizing emotional and psychological depth over escapist resolution, the film distinguishes itself as a poignant commentary on the limits of human agency in a deterministic world.

Cast

Principal Cast

Joan Leslie stars as Sheila Page, a successful Broadway actress who, after shooting her philandering husband on New Year's Eve 1946, is granted the chance to relive the previous year in an effort to avert the tragedy. Leslie's portrayal captures the character's emotional turmoil and regret, particularly in scenes where Sheila confronts the consequences of her marital dissatisfaction and the supernatural time reversal, delivering a performance marked by sincere vulnerability and anxiety. Louis Hayward portrays Barney Page, Sheila's alcoholic and unfaithful husband, a once-successful whose descent into drives much of the film's conflict. Hayward brings intensity to the role, emphasizing Barney's volatile temper and moral decline through melodramatic flair, especially in sequences depicting his and spiraling that culminate in madness. Richard Basehart makes his screen debut as William Williams, an enigmatic poet and close friend of who becomes entangled in the time-reversal events with a subtle undercurrent of instability. Basehart's performance highlights the character's quiet menace and compassionate oddity, contributing a haunting presence that underscores the film's noir atmosphere, a role that helped launch his Hollywood career following his stage acclaim.

Supporting Cast

Tom Conway portrays John Friday, Sheila Page's loyal theatrical producer and platonic confidant, whose sophisticated demeanor provides a contrast to the central couple's turmoil and injects moments of wry into the narrative. As a wealthy figure, Friday offers steadfast support to Sheila, highlighting themes of amid , without encroaching on the protagonists' emotional core. Virginia Field plays Paula Costello, Barney Page's manipulative mistress and a rival to in both personal and professional spheres, whose arc from seductive opportunist to callous abandonment amplifies the film's tension around and consequence. Field's portrayal infuses Paula with a brittle vulnerability, particularly in scenes depicting her rejection of the paralyzed Barney, underscoring the noir motif of fleeting alliances. The ensemble's minor roles, including as the elegant socialite Eloise Shaw and Benay Venuta as the vivacious Bess Michaels, enrich the backstage milieu with layers of interpersonal intrigue and subtle class dynamics, bolstering the atmospheric while deferring focus to the leads. These supporting performances collectively enhance the film's web of relationships, contributing to its exploration of regret and inevitability without dominating the principal narrative.

Release and Reception

Distribution

Repeat Performance world premiered in the United States on May 22, 1947, in , with general release on May 30, 1947, by , the distributor's inaugural venture into higher-budget productions with estimates varying from $600,000 to $1,300,000. The rollout targeted urban theaters, capitalizing on the growing popularity of in metropolitan areas following . Marketing efforts highlighted the film's supernatural premise, promoting it as a "thrilling repeat" of fate with a fantasy hook centered on time travel and mystery. Posters and promotional materials emphasized dramatic of the protagonist's desperate bid to alter tragic events, drawing audiences intrigued by the blend of noir and speculative elements. Commercially, the film achieved modest success, benefiting from the surge in interest for like noir fantasies, though it was not a major hit. According to Variety reports, it grossed approximately $5,200 in select key markets during its initial run, often paired in double bills with other Eagle-Lion releases such as Green for Danger.

Contemporary Reviews

Upon its release in May 1947, Repeat Performance received mixed contemporary reviews, with critics divided on its blend of , , and fantasy elements. A Daily Variety review described it as a suspense melodrama. The Hollywood Reporter commended Joan Leslie for her successful shift from lighter musical roles to more intense dramatic work, noting her central portrayal as a highlight amid the production's ambitions. Criticisms focused on the story's contrived premise and occasional over-the-top acting. The New York Times, in a review by Bosley Crowther, described the plot as lacking dramatic credibility and executed with undue pretension, dismissing it as competent but unremarkable B-film fare; Crowther specifically critiqued Leslie's anxious characterization as childish and Louis Hayward's villainous husband as excessively melodramatic. Overall, reviewers viewed Repeat Performance as an intriguing experiment in mixing genres, appealing particularly to audiences through its focus on a woman's emotional turmoil and second chances, though it underperformed at the .

Modern Reception

In the , Repeat Performance has experienced a significant rediscovery, largely credited to the efforts of expert and the Film Noir Foundation (FNF), which he founded. Muller first screened the film at the 2007 Noir City festival after locating a rare 16mm print, describing it in subsequent TCM Noir Alley introductions as the "film noir version of " for its innovative blend of time-loop fantasy and fatalistic noir elements. The FNF partially funded a 35mm restoration in collaboration with the UCLA Film & Television Archive and the Packard Humanities Institute, resurrecting the long-lost title from obscurity and enabling high-quality screenings at subsequent Noir City festivals, including a new 35mm print premiere in 2013. The 2022 Blu-ray release by Flicker Alley has further amplified modern appreciation, with critics praising its visual style and technical restoration. The transfer showcases the film's "gorgeous" by Robert De Grasse, featuring "stunning" clarity, deep contrasts with "inky blacks," and subtle grain that highlights the shadowy, expressionistic compositions central to its noir aesthetic. Reviewers have noted how this edition reveals the film's innovative genre hybridity—merging gothic , romance, and —positioning it as a "striking " in 1940s cinema that subverts traditional linear narratives. Scholarly analyses have examined Repeat Performance within noir studies, particularly for its subversion of fate tropes through intervention. In a 2025 Chapman University presentation, scholar Tyler Bolden argued in "Resurrected Criminals, Time-Loops, and Faustian Bargains: The Supernatural Edge of Film Noir" that the film's time-reversal mechanism challenges noir's inherent by introducing elements of and , recalibrating the genre's psychological anxieties about inescapable destiny. This perspective underscores the film's thematic depth, portraying Sheila Page's desperate bid to alter tragic events as a poignant of postwar determinism. Ongoing TCM airings, including its annual New Year's Eve slot in 2025, alongside festival screenings at events like Noir City, have solidified its cult status among cinephiles.

Legacy

Restoration

In 2007, a decomposed 35mm print of Repeat Performance was discovered during a screening featuring a by cast member , marking a pivotal moment in rescuing the long-presumed through collaborative efforts by the Film Noir Foundation, the UCLA Film & Television Archive, and the Packard Humanities Institute. The restoration process, following the 2007 discovery, involved meticulous cleaning of the visuals to address severe decomposition damage and stabilization of the original audio track, which ultimately produced a high-definition master for long-term preservation. This effort elevated Repeat Performance from obscurity to a widely accessible film noir classic, culminating in its 2022 Blu-ray release by Flicker Alley, which includes supplementary materials such as an introduction by Film Noir Foundation president Eddie Muller.

Remake

In 1989, produced a television of Repeat Performance titled Turn Back the Clock, directed by Larry Elikann and airing as a made-for-TV movie on November 20. The film adapts the original's premise of a woman mysteriously granted the chance to relive the previous year and avert a personal tragedy, but updates the story to a contemporary setting focused on marital strife and emotional rather than the film's noir atmosphere. Connie Sellecca stars as Sheila Powers, a woman who shoots her unfaithful husband Barney (played by ) on and then finds herself reliving the prior year; supporting roles include as a sympathetic colleague, , , and [Gene Barry](/page/Gene Barry). Original Repeat Performance lead appears in a cameo as a party guest, providing a subtle nod to the source material. At 91 minutes, the telemovie has the same runtime as the original and emphasizes sentimental fantasy over shadowy intrigue, with softened dramatic elements that prioritize weepy . Produced on a modest typical of network TV movies, Turn Back the Clock received mixed contemporary reviews, praised for its attractive cast and stylish direction by Elikann but criticized for a "blinkered" script and overly maudlin tone that diluted the fantasy's tension. While Sellecca's emotional performance and Burns' supporting turn were highlights, critics noted the film underutilized its talented ensemble in service of predictable soapy tropes. It holds a moderate retrospective rating of 6.4/10 on from over 100 user votes, reflecting its appeal as light '80s escapism despite the tonal shifts from the noir original.

Influence

Repeat Performance (1947) stands as an early exemplar of the time-loop narrative within the film noir genre, blending fantasy with the fatalistic themes characteristic of American cinema. Directed by Alfred L. Werker, the film employs a protagonist's rewind to relive the previous year in an attempt to avert , marking one of the first instances of this device in a noir context. This structure, where the conscious actively seeks to alter destiny but confronts inescapable fate, prefigures similar experiments in temporal manipulation seen in later works. The film's genre legacy extends to its role in pioneering fantasy-noir hybrids, influencing subsequent explorations of and repetition in cinema and television. Scholarly analyses position it alongside early television episodes, such as the 1959 Twilight Zone installment "Judgment Night," as foundational examples of loop structures that question narrative linearity and human agency. By integrating speculative elements into noir's moral ambiguity, Repeat Performance contributed to the evolution of time-loop tropes, evident in later films that hybridize crime drama with supernatural resets to probe themes of regret and inevitability. Its narrative model, drawn from William O'Farrell's 1942 novel, has been recognized for laying groundwork for more complex temporal narratives in the genre. Culturally, Repeat Performance encapsulates anxieties surrounding repetition and post-war disillusionment, portraying a fractured domesticity that mirrors broader societal fears of stalled progress and institutional entrapment in the . Film studies highlight its inversion of redemption fantasies, such as those in It's a Wonderful Life (1946), to depict gender dynamics where female agency clashes with deterministic forces, symbolizing the era's existential disorientation. This speculative edge recalibrates noir's engagement with the , using time loops to interrogate identity and fate amid modernity's crises. By 2025, the film continues to feature prominently in noir retrospectives and scholarly discussions, underscoring its enduring impact on studies. Restored through efforts by the Film Noir Foundation, it has been screened at festivals like Noir City, fostering renewed appreciation for its innovative blend of and metaphysics. This ongoing revival highlights its inspiration for analyses of inescapable fate in cinematic storytelling.

References

  1. https://www.tcm.com/tcmdb/title/87990/repeat-performance
  2. https://flickeralley.com/products/417314632-repeat-performance
  3. https://www.imdb.com/title/tt0039761/releaseinfo/
  4. http://filmnoirfoundation.org/noircitymag/Book-vs-film-Repeat-Performance.pdf
  5. https://onlinebooks.library.upenn.edu/webbin/book/lookupid?key=ha102290422
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  12. https://www.imdb.com/title/tt0039761/
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  15. https://digitalcommons.chapman.edu/cgi/viewcontent.cgi?article=1770&context=cusrd_abstracts
  16. https://www.davidbordwell.net/blog/2022/06/05/noir-x-3/
  17. https://www.slantmagazine.com/dvd/repeat-performance-blu-ray-review/
  18. https://www.nytimes.com/1947/07/02/archives/repeat-performance-starring-joan-leslie-louis-hayward-and-tom.html
  19. https://www.outofthepastblog.com/2022/08/repeat-performance-1947.html
  20. https://noirencyclopedia.wordpress.com/2017/12/30/repeat-performance-1947/
  21. https://www.cinema.ucla.edu/screenings/repeat-performance-1947
  22. https://pulpinternational.com/pulp/entry/poster-and-promo-images-from-repeat-performance-circa-1947/
  23. https://archive.org/download/variety167-1947-08/variety167-1947-08.pdf
  24. https://www.filmnoirfoundation.org/
  25. https://www.noircity.com/noircity11.html
  26. https://www.chapman.edu/research/center-for-undergraduate-excellence/_files/symposium-abstract-volumes/spring_2025_student_scholar_symposium_abstract_volume.pdf
  27. https://www.timeout.com/usa/news/all-the-ways-to-watch-and-stream-2025-new-years-eve-specials-123124
  28. https://torontofilmsociety.com/film-notes/repeat-performance-1947/
  29. http://www.dvdbeaver.com/film11/blu-ray_review_178/repeat_performance_blu-ray.htm
  30. https://www.imdb.com/title/tt0098535/
  31. https://www.latimes.com/archives/la-xpm-1989-11-20-ca-52-story.html
  32. https://www.researchgate.net/publication/357746171_Loop_Structures_in_Film_and_Literature_Experiments_with_Time_Between_the_Poles_of_Classical_and_Complex_Narration
  33. https://digitalcommons.chapman.edu/cusrd_abstracts/756
  34. https://www.latimes.com/entertainment/movies/la-xpm-2013-apr-03-la-et-mn-film-noir-festival-20130404-story.html
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