One of the universal truths that we should all come around to believing is that, regardless of how much we try and attribute their films to being the product of style over substance, Michael Powell and Emeric Pressburger were masters of their craft. Whether or not we find value in the spectacles of Black Narcissus and The Red Shoes (the former being a true masterpiece, the latter a film I am divided on), we can always look to their earlier work for proof of their outright brilliance. A Matter of Life and Death is quite simply one of the greatest films ever made, an opinion I tend to share with anyone within earshot, but there’s another one that is not too far behind. I Know Where I’m Going! is one of the most cherished works in the entire career of the pairing known collectively as The Archers, and is often considered their best work by those who prefer their work to be a lot more subtle, which is certainly a relevant criticism, but one that has allowed them to maintain a solid and consistent set of devotees, who are dedicated to defending the honour of their smaller, more intimate films, of which this is one of their very best, at least amongst those of us who are more enamoured with the more substantial but simple stories that populated the earlier stages of their career. It’s not difficult to fall head over heels in love with this film, which has so many intriguing ideas, as well as the unique ability to present even the most conventional material as essential and compelling, which is not a skill that many filmmakers have been able to demonstrate.

There have been innumerable artists who have been inspired by Powell and Pressburger, but something only a few realize is that, regardless of how much we associate lavish, beautiful production design and lush colours with the directors, they were compelled less by the spectacle, and more by the more simple elements – it doesn’t matter that some of their films were pushing the boundaries of what could be done visually at the time, since even at their most extravagant, there was a strong story that meant more than any imagery. This is most evident in their earlier films, since they did not have the same unfettered access to the broad visual palette they would possess in only a few short years, and instead needed to rely on the narrative to keep audiences engaged. Here, we have a very small film, albeit only in terms of the scope – a brief, 90-minute romantic comedy filmed in black-and-white, it would seem easy to just neglect this film, since nothing about it seems essential at a cursory glance. However, when we realize that a great film is not only about what it says, but also the approach it takes to saying these things, we start to see a film that has an abundance of potential. We’re invited to leap into this narrative, which transpires amongst the most achingly beautiful landscapes of the Scottish Isles (standing in for the fictional Isle of Moy), giving the film a sense of enchantment and wonder, which may be slightly more subdued than some of their more fantastical works, but is just as enduring, hinting at some deeper ideas that time a bit of time to fully manifest, but by the time they are present, we are entirely swept away into this unforgettable and magical world that represents all of the Archer’s best qualities, compressed into a single stunning narrative.

Needless to say, size means very little in terms of appreciating Powell and Pressburger’s work – despite being a very intimate drama, I Know Where I’m Going! is a film that touches on issues much broader than its small scope would have you suggest. If there is a common thread throughout their work, it would be that they are constantly trying to look at different sides of the same subjects, most prominently of them all that of the human condition, which has rarely been presented with as much optimism as it is here. Many have called this film one of the most important screen romances, a film that contributed as much to the genre as David Lean’s Brief Encounter, which was released in the same year and similarly established a foundation for the fickle nature of falling in love, and how circumstances can change the extent to which we are able to maintain it. The only difference is that I Know Where I’m Going! does it in a way that is a lot more upbeat, with the film setting a standard for romantic comedies, especially those that focus on individuals falling in love merely by chance, with the various challenges they encounter being framed in a more humorous way, rather than the more heartbreaking melancholy of Lean’s masterpiece. The conflict between appearance and reality was a fundamental theme in the directors’ work, and even when filtered through the lens of a charming romantic comedy, they find the space for slightly more serious commentary, which doesn’t invalidate the enchanting humour, but rather complements it in increasingly engaging ways, which leads to a much more complex and insightful film than one would expect.

We know from the process of making I Know Where I’m Going! that this film was technically not supposed to exist – the Archers were aiming to make A Matter of Life and Death (which followed on from The Life and Death of Colonel Blimp in terms of being a poignant meditation on warfare, which was heavily inspired by the radical changes being brought on by the Second World War), but limitations in the necessary technology to make that film in colour led them to use the time making this film instead while waiting for the right resources – and like many films that were never intended to exist, it somehow becomes one of their most distinctive works. Considering this was produced in the later stages of the war, it is curious that it didn’t touch on the conflict at all (avoiding even referencing it, outside of one of the characters being a naval officer on shore leave, the closest this film ever gets to the war), but rather seemed to be made to show audiences at the time that there was still hope in the world – the mid-1940s were rife with depressing and downbeat films about human suffering, so to see a pair of directors who had personal experience with the more bleak side of reality make something that celebrates the very nature of what it means to be alive is incredible, and shows that there is always a silver lining. It’s not so much a case of ignoring reality as it is a purposeful distraction from it – and considering they would go on to make one of the greatest war films of all time only a few months later proves that there is a great deal of merit in their perspective, which is so beautifully explored in this film.

I Know Where I’m Going! is the kind of film that warrants a lot of attention just based on its tendency towards being as simple as possible, but finding the beauty in the subtle moments. There are so many aspects of the film that earn our undying devotion – the incredible performances by Wendy Hiller and Roger Livesy help bring these characters to life, carefully realizing the incredible vision that Powell and Pressburger had when constructing the film, and the script itself is something of a miracle, with the witty dialogue contrasting sharply with the deep sense of melancholy that persists throughout the film, the two creating an unforgettable balance that feels remarkably well-formed when it is put into context. However, a film can only be as effective as its audience allows it to be, and Powell and Pressburger’s greatest strength is their ability to draw the viewer into their world, immersing us in the most enchanting scenarios and immediately giving us the opportunity to see beyond the relatively straightforward premise, and instead see the beauty that lurks beneath everyday life, which fuels this film and makes it such an unimpeachable masterpiece. Simultaneously as steadfast and delicate as its protagonist, I Know Where I’m Going! truly earns the boldness of its title, proving this not only true of the main character and her joie de vivre, but the film as a whole, which proves that it knows exactly in which direction it is aiming to go, as well as having the capacity to live up to these already impossibly high expectations that have made it such a cherished work of art.