Carnforth station was chosen partly because it was so far from the South East of England that it would receive sufficient warning of an air-raid attack that there would be time to turn out the filming lights to comply with wartime blackout restrictions.
The screenplay was adapted and based on Noel Coward's 1935 short one-act (half-hour) stage play "Still Life". It was expanded from five short scenes in a train station (the refreshment tea room of Milford Junction Station) to include action in other settings (Laura's house, the apartment of the Dr.Harvey's friend, restaurants, parks, train compartments, shops, a car, a boating lake and at the cinema),
Laura borrows books from the Boots Lending Library. Such Lending Libraries were an offshoot of Boots Pharmacies. Boots is a major pharmacy chain in the UK. It was founded in 1849 and still exists, although in a much different, more diversified form. The Lending Libraries were started in 1898.
Old Arabic Love Poem on Persian Rug: when Laura comes to see Alec at his friend's flat, there is a Middle Eastern rug hung on the wall. The style of the rug itself confirms it is Persian, however, the beautiful calligraphy is Arabic. It is from a 9th century love poem by the Arab poet Ali Bin Salwa Al-qusari. it reads from right-hand corner of the rug and going anti-clockwise: The Utterance of Passion - In My Eye - Speaks To You.
The poem that Fred asks Laura's assistance with is by John Keats, "When I Have Fears That I May Cease to Be", the actual quote being 'When I behold, upon the night's starr'd face, Huge cloudy symbols of a high Romance ....'.
The original Broadway production was presented as the one act play "Still Life" as part of the repertory presentation "Tonight at 8:30" that opened at the National Theatre on November 24, 1936 and ran for 118 performances with a cast that included Noel Coward and Gertrude Lawrence.
On her first trip to Milford after meeting Dr. Harvey, Laura walks past a bookstore window. On display are a range of books published in 1944/45, including "Something in my Heart" by Walter Greenwood, "A Showman Goes East" by Carroll Levis, "The End of the Mildew Gang" by S. Fowler Wright, "Capri Moon" by Kelman Dalgety Frost, "Winter's Tales" by Karen Blixen, "Triple Mirror" by Kathleen Wallace, "Once a Jolly Swagman" by Montagu Slater, and "Grand Barrage" by Gun Buster (aka John Charles Austin).
The cast and most of the crew were given May 8th 1945 the day off work, not so much because it was Victory In Europe Day but because the cameras at Denham Studios were needed to cover the celebrations in London.
Originally the train station scenes were set for London, but with the threat of German rocket attacks during the last days of the war, the company was evacuated outside the city. The producers chose Carnforth Station in Northwest England because it was one of the largest provincial stations and was far enough from the coast that they would have time to turn off the lights in the event of an air raid and blackout warning.
Unhappy with the location of the station's refreshment room, David Lean had a different one built in another part of the station for exterior shots. For interiors, he shot in a film studio in Denham, although the set was closely modeled on the real room.
The production drew extras from the area around Carnforth. Those involved were particularly pleased to enjoy the dinner provided each night, which included sweets and other items restricted by wartime rationing.
Carnforth Station had a ramp leading up to the train platform. David Lean thought it would be more effective for the actors to be running up the ramp to catch their trains and that running up steps might have made them look ridiculous.
Although there was no mention of it in the script, David Lean was so intrigued with the station's clock that he made frequent use of it in the film. This actually required making dummy face for it so that the times would be appropriate and could be read more easily in long shots.
Celia Johnson was not looking forward to the four week location shoot at the railway station, but her opinion changed when they got there and the cast and crew developed a spirit of camaraderie. Between scenes she usually played poker with the crew or worked a crossword puzzle. She also was impressed with the hospitality shown by the station master, who let them warm up in his office during the cold winter nights.
When David Lean tried to get shots of express trains speeding through the station, he ran into a problem. The engineers, not used to the camera lights being used during the location shoot, had slowed down to a crawl as they approached, fearing there was some problem. He had to get a railway traffic officer to send word to other stations assuring the drivers there was nothing wrong, and they could maintain speed.
Cast in his first major film role, Trevor Howard had a hard time adapting to acting for the camera. For the scene in which he had to rattle off a list of diseases while both he and Celia Johnson are really fighting their feelings for each other, it took him so many takes to capture both the script and what was beneath it, that Johnson began having problems maintaining spontaneity.
Trevor Howard had trouble understanding the character's delicacy in dealing with the woman he loved. For the scene in the flat, he couldn't see why the man didn't just make love to her as soon as she showed up. When David Lean tried to explain that the sudden intimacy and the unprecedented opportunity to consummate their love had suddenly made the characters shy, Howard could only respond with, "I must say, you are a funny chap."
Noel Coward chose Rachmaninoff's Second Piano Concerto as the film's background music. It was his favorite musical piece. The film's composer, Muir Mathieson, objected, wanting to compose the entire score himself. When Coward insisted that the piece was part of the character's life, Mathieson gave in - on condition that Celia Johnson be shown turning on the radio to listen to the piece and that the music not be re-arranged for the film .
Because David Lean and producer Ronald Neame were busy filming Great Expectations (1946) on location, the film had its first preview in front of a working class audience in Rochester. The results were disastrous, with the audience laughing through the most romantic scenes.
At the film's press screening, David Lean sat next to drama critic James Agate, who delivered a stinging commentary on everything he considered wrong with the film, at full voice, throughout the presentation.
Anthony Havelock-Allan was convinced the only place the film would do well was France, but the major French distributor, Gaumont, turned it down. They only changed their minds when it won the Grand Prize at the Cannes Film Festival. It turned out to be a big hit in France.
The film opened at the Little Carnegie, an art house in New York, to respectable business and good reviews. Positive word of mouth, however, drove up attendance records. By its fifth week there, when most films would have been fading fast, it broke the house record. It ended up running a total of eight months.