Once you have seen most, if not all, of a major filmmaker or actor’s most prominent work, it’s often quite entertaining and even more insightful to venture into their past and find projects that are not very well-regarded or even known beyond the most passionate devotees. It can almost feel like a rediscovery of their work to see something they made much earlier that lies off the beaten path. In this case, we’re discussing Who Am I This Time?, which is an early film directed by Jonathan Demme, who takes a short story by the legendary Kurt Vonnegut and puts together a wonderful film that showcases some of his more distinctive traits as one of the most reliable directors of his generation. Made to be an episode for the American Playhouse (and thus running just under an hour), the film is every bit as delightful as we’d expect from Demme, a playful and charming romantic comedy that also features two exceptionally gifted actors doing some strong work, collaborating closely with Demme in constructing this subversive and very funny adaptation of a simple but evocative story that celebrates the importance of artistic expression and how it intertwines with identity to create something memorable, even if it isn’t particularly complex in any discernible way. A work of masterful complexity delivered in as small a package as possible, Who Am I This Time? is an absolute delight, a simple but very effective film that never overstays its welcome, spending enough time with the audience to introduce these tender ideas before moving along swiftly, leaving us with a solid and entertaining romantic comedy that knows how to capture our attention, as well as maintain it long enough to keep us invested.

By design, Who Am I This Time? Is not a film that was ever meant to look or feel like a major achievement – Demme was already a relatively prominent filmmaker, having directed well-regarded features like Last Embrace and Melvin and Howard (neither of which are major directorial achievements, but still solid and entertaining enough to allow Demme to move onto much greener pastures in the years that were to come), as well as being on the precipice of making Stop Making Sense, which felt like a turning point for him as a modern filmmaker, the work that forced audiences, critics and the industry at large to take note of his talent, even though he had been working for nearly a decade, long enough to be considered a great journeyman director with the potential to grow beyond such a label. Naturally, a small, made-for-television film that runs under an hour and feels like nothing more than a filmed play was not the film that would push him to the status of being an auteur, but it did contribute to a steady body of work that showcased his ability to not only work with a text written by an author of as intimidating a stature as Vonnegut, but also bring out excellent work in his actors, both of which were integral to his later development as a director of more personal projects. Demme’s ability to turn Who Am I This Time?, which should have been a far less intriguing and engrossing film, into anything other than a by-the-numbers comedy that fades into obscurity is a clear indication of his immeasurable talents, which may not be as obvious here as they would be in other productions, but which still shine through in a way that is distinctly and unmistakably his own.

Who Am I This Time? sees two of the finest actors of their generation volunteering their time to play the lead roles in this quaint romantic comedy. Christopher Walken was one of the most sought-after actors in Hollywood, and Susan Sarandon had gone from one of the breakthroughs of the cult classic The Rocky Horror Picture Show, to standing toe-to-toe with the likes of Burt Lancaster in Atlantic City and Henry Fonda in The Great Smokey Roadblock, proving her mettle as an actor every step of the way, and showing that there was no one quite like her working in the industry at the time. Neither of them had anything to prove, which is precisely why they could so confidently take on roles such as those that reside at the heart of this film, which doesn’t require much from its actors other than giving performances dedicated enough to convince us of the burgeoning love that exists between these characters, which is important to the progression of the plot. It was the first time Sarandon and Walken had worked together, but their chemistry feels so palpable and genuine, a welcome change of pace to a story that needed actors who could make us genuinely believe, without even the slightest shadow of a doubt, that these were two individuals who were hopelessly in love with one another. It also helps that they are playing against type – both are known for more eccentric characters, but playing these parts as slightly more demure, reserved individuals who only come to life when they’re performing on stage, is a fun challenge for these versatile actors who know exactly how to hold our attention, keeping us interested in the journeys undergone by these characters over the course of the film.

An endearing comedy with as much heart as it has humour, Who Am I This Time? It Is quite a gem of a film, and one that has seemingly become obscure with age, rarely (if ever) being mentioned when discussing any of the stars or the director, who were clearly dedicated enough in this production to do impeccable work, but who also seemed to just place this film in the background of their otherwise illustrious careers. However, it is good enough to warrant our discussion, and while it may not be particularly notable to earn too much of it, many conversations can be had about this delightful gem of a film. It’s not easy to find (with all versions that exist seemingly being recorded from the initial release, without any signs of a restored version anytime soon), but even through the small-scale, crude visuals, the pure joy shines through beautifully. It’s a lovely diversion, a very well-constructed story of two human beings undergoing the inevitable process of falling in love. The circumstances that surround it may be different than most (and they do tend to stretch the limits of plausibility – the film is practically begging to be analysed by behavioural psychologists), and it can sometimes come across as stilted and awkward in some placed – but the pure energy that exudes off every frame is enough to sustain the story, and the joy is truly infectious. As a whole, Who Am I This Time? is a small film with big ideas and an even bigger sense of heart and soul, and its unique qualities make it a truly enchanting film that knows how to navigate treacherous emotional territory, making it look almost easy, which is a sign of a fantastic collaboration between a good director and a great cast, both of which are the key to the success of this charming and fascinating character study that dares to explore love in its own unique way.