Imagine a 1940s romantic comedy that not only charmed audiences but also made history by introducing Gaelic to the silver screen. That’s exactly what I Know Where I’m Going achieved, a film that remains a favorite of legendary director Martin Scorsese. But here’s where it gets even more fascinating: this cinematic gem, produced by British cinema titans Michael Powell and Emeric Pressburger, wasn’t just a love story—it was a cultural milestone. Filmed on the picturesque Isle of Mull and in Buckinghamshire studios during the tumultuous years of World War II, the movie seamlessly blended romance with a genuine portrayal of Scottish island life. And this is the part most people miss: it marked the first time Gaelic dialogue was featured in a feature film, though it had previously appeared in a 1935 documentary by Werner Kissling. Controversially, some might argue whether this truly counts as Gaelic’s cinematic debut, but there’s no denying its impact.
Eighty years ago, a small but eager crowd gathered in Tobermory, Mull, for a preview screening—a rare honor, as the island hosted three such screenings in November 1945, just days before the London premiere. The proceeds from these shows were donated to local charities, a gesture the Oban Times hailed as deeply appreciated. Powell, an Englishman with a passion for Highland culture, and Pressburger, a British-Hungarian visionary, were already celebrated for films like The Life and Death of Colonel Blimp and The Red Shoes. Powell’s earlier work, The Edge of the World, had explored the evacuation of St Kilda, further cementing his interest in Scotland’s remote communities. Their collaboration on I Know Where I’m Going wasn’t just about storytelling—it was about authenticity. They hired a Gaelic consultant to ensure the language and culture were portrayed respectfully, a decision that resonates with audiences to this day.
The film follows Wendy Hiller’s character, an Englishwoman en route to marry a wealthy businessman on the fictional island of Kiloran. Stranded on Mull during a storm, she falls for a Royal Navy officer played by Roger Livesey. Interestingly, Livesey was simultaneously performing in a London play, so a double was used for Scottish scenes, intercut with studio close-ups. Powell later called this one of his cleverest cinematic tricks. The film premiered in December 1945 to critical acclaim and box office success, solidifying Powell and Pressburger’s status as, in Scorsese’s words, ‘kings of British cinema.’ Their work, he noted, was ‘dynamic, magic, inventive, and endlessly surprising.’
But the story doesn’t end there. Powell’s later years were marked by critical obscurity and financial struggles, but he found an unlikely ally in Scorsese during the 1970s. Powell relocated to the U.S., where he married Thelma Schoonmaker, who has since edited every Scorsese feature since Raging Bull. Schoonmaker, along with Scorsese, continues to honor Powell’s legacy, even participating remotely in Mull’s celebrations of the film. Is it fair to say Powell’s revival was solely due to Scorsese’s influence? Some might debate this, but their friendship undeniably reignited interest in his work.
The film’s impact on Mull is still felt today. Locals like Gordon Maclean’s grandmother, Polly Sharp, were not only part of the production but also left behind charming anecdotes. Sharp, who drove Hiller to set daily, ended up as a stand-in when Hiller fell ill. Her grandson recalls her wearing Hiller’s clothes and a £90 ocelot hat, quipping, ‘I can always say I had £90 on my head even though I’ve never had it in my hand.’ The Western Isles Hotel, a filming location, remains a pilgrimage site for fans, who gather every five years to celebrate the movie’s enduring charm. As Mull filmmaker Alasdair Satchel puts it, ‘It’s part of our story here. People are proud of it—it’s our film.’
So, here’s a question for you: Does I Know Where I’m Going deserve more recognition for its cultural contributions, or is its legacy already secure? Share your thoughts below!