house in Rue Berthe, Montmartre, as well as it’s interiors to be designed and built by Theo Meurisse at the Studio Boulogne, all to be co- ordinated by Miles’ friend from their Paris film student days, Patrick Bureau. Anouilh had set his script in Montparnasse, but by the 1970s the modern towers dominated the exteriors, so Miles moved the location to Montmartre which he knew well from his student days. This meant getting helpful co-operation from his old friends, the local vegetable market sellers, the butcher, the local artists and the poet Pierre Jacob and his wife Josia to play small roles and appear in the film. Critical reception Alexander Walker of the London Evening Standard wrote "Though one is surprised to see it done at all any longer, I have to admit it is done very well in Christopher Miles's romantic comedy...'Time for Loving' is one of the very few English films made in France that is worth the Channel crossing" and the style of the film appealed to Dilys Powell of the Sunday Times “... and it's amusing to see Michel Legrand, most prolific of film music composers, making a spirited appearance with a trombone: in my eyes Lila Kedrova never over-acts: one admires too, the re-creation of war-time Paris, streets empty of traffic except for bicycle-taxis" as it did to the Daily Telegraph: "The most striking quality of this handsome, erratic film, is its splendidly square sense of place....Christopher Miles accurately gauges the material things that give substance to an experience... really it is less a time for loving than time remembered". However for the London Evening News it was a rose among the West End weeds: “Directed with leisurely sophistication by Christopher Miles - reunited with his Virgin and Gypsy stars Joanna Shimkus and Mark Burns -... it’s a rose among the West End weeds" but Derek Malcolm of The Guardian wrote: “There is delicious Joanna Shimkus as a medical student in love with Mel Ferrer’s middle-aged doctor, Susan Hampshire’s icy rich lady failing to rekindle her affair with Mark Burns, and the estimable Philippe Noiret as a harassed business man trying to satisfy his wife, mistress and self-pitying mother”. However he felt although the film looked nice, the French being the meanest, and most bourgeois, and least romantic nations on earth - it was a bit of a fake. References Bibliography Harper, Sue. British Film