Tomorrow Is Forever Reviews

  • Apr 29, 2019

    Correction to Movie Info: Larry Hamilton and Elizabeth have a son after she marries him with a young child from her marriage to John. Margaret is Kessler's adopted daughter.

    Correction to Movie Info: Larry Hamilton and Elizabeth have a son after she marries him with a young child from her marriage to John. Margaret is Kessler's adopted daughter.

  • Antonius B Super Reviewer
    Feb 02, 2018

    This film features Claudette Colbert, Orson Welles, and an 8-year-old Natalie Wood in her first credited role, as well as a script written just after WWII ended which addresses the question of going off to war. It's worth watching, but a bit melodramatic. The premise: Welles and Colbert are newly married, Welles surprises Colbert by deciding to go off to WWI, but then gets his face blown off. He's unknown and heavily bandaged in the hospital, and in his depression, doesn't want to correct the report back to his wife, which was that he was killed in action. Fast forward 21 years. Welles has been living in Vienna, but flees to America with a small child (Natalie Wood) after the Nazis have killed her parents. Meanwhile, Colbert has had the child he didn't know she was carrying when he left, and re-married (to George Brent). Naturally, Welles then inadvertently meets her and her new family. What first seems to be a story focusing on the pathos of seeing the love of one's life now living with someone else, quickly gives way to the stronger moments of the film, which center around their son (Richard Long) wanting to go off to war himself. Despite America not being involved yet, he reasons (with the benefit of a post-WWII script) that Hitler will not stop at Poland or even Europe, and that evil must be confronted. It's a compelling argument, and my favorite interchanges was this one, which are words to ponder even today, particularly that last line: Long: "I'm not sure what's it's all about, except that when I mentioned it a few minutes ago, about aggression and conquest..." Welles: "The Nazis call it a new order. Supermen and slave people. Actually just trying to bring back the Middle Ages. Trying to bring back the past." Long: "But why should anyone want to hold back the future?" Welles: "Because the whole idea of the future is a fuller, richer life for more people. These fellows are afraid that more for the many means less for the few." On the other hand, his mother is well aware of what war can do, having lost her first husband, and we really see the crux of the problem - when is war worth fighting? WWI had little meaning, but on the other hand, WWII threatens humanity. It's very difficult in the moment to understand which of these cases it may be. Sacrifice and honor are themes which pervade the film. This must have played well to audiences of the time, and the tragedies which result may tug on heartstrings today. Welles sacrifices his life to fight for his country, and then sacrifices his happiness so that his wife won't be burdened by his injuries. His son wishes to follow in his footsteps, and is so eloquent and rational. There is naturally a tragedy to this, heightened as Welles speaks to both, without them knowing who he is. Thomas Paine is quoted in the best of their conversations: "A man who kept a tavern was standing in his door, with as pretty a child in his hand, about eight or nine years old, as I ever saw. And after speaking his mind as freely as he thought was prudent, he finished with this unfatherly statement: give me peace in my day. Remember that's what Chamberlain said when he came back from Munich: 'peace in our time'. A more generous parent would have said, if there must be trouble, let it be in my day, that my child may have peace." Unfortunately there are several moments that strain credibility. Out of all the employers in Baltimore, Welles happens to get a job with the man who has married his wife. Ok, we'll give the film that one, as it sets up everything else. But how about Colbert not recognizing him at all, via his voice or his eyes? Ok, he was supposed to be tragically disfigured and needed plastic surgery, so let's give the film that one too. But then her reactions when she begins to suspect that he's indeed her first husband? The line "you're John MacDonald" is so false, as it seems to refer to a stranger - not "you're John!", "John, I know it's you!", etc. In a film that is so full of emotion, this moment and those that follow between the two of them don't feel authentic. In general, the acting in the film is rather staid, which in part reflects the stoicism of the time, but also just average performances, much as I like the actors. The film also lays it on rather thick as the story plays out, and it gets a little heavy-handed in the direction it takes. A mixed-bag, worth seeing, but falls a bit short.

    This film features Claudette Colbert, Orson Welles, and an 8-year-old Natalie Wood in her first credited role, as well as a script written just after WWII ended which addresses the question of going off to war. It's worth watching, but a bit melodramatic. The premise: Welles and Colbert are newly married, Welles surprises Colbert by deciding to go off to WWI, but then gets his face blown off. He's unknown and heavily bandaged in the hospital, and in his depression, doesn't want to correct the report back to his wife, which was that he was killed in action. Fast forward 21 years. Welles has been living in Vienna, but flees to America with a small child (Natalie Wood) after the Nazis have killed her parents. Meanwhile, Colbert has had the child he didn't know she was carrying when he left, and re-married (to George Brent). Naturally, Welles then inadvertently meets her and her new family. What first seems to be a story focusing on the pathos of seeing the love of one's life now living with someone else, quickly gives way to the stronger moments of the film, which center around their son (Richard Long) wanting to go off to war himself. Despite America not being involved yet, he reasons (with the benefit of a post-WWII script) that Hitler will not stop at Poland or even Europe, and that evil must be confronted. It's a compelling argument, and my favorite interchanges was this one, which are words to ponder even today, particularly that last line: Long: "I'm not sure what's it's all about, except that when I mentioned it a few minutes ago, about aggression and conquest..." Welles: "The Nazis call it a new order. Supermen and slave people. Actually just trying to bring back the Middle Ages. Trying to bring back the past." Long: "But why should anyone want to hold back the future?" Welles: "Because the whole idea of the future is a fuller, richer life for more people. These fellows are afraid that more for the many means less for the few." On the other hand, his mother is well aware of what war can do, having lost her first husband, and we really see the crux of the problem - when is war worth fighting? WWI had little meaning, but on the other hand, WWII threatens humanity. It's very difficult in the moment to understand which of these cases it may be. Sacrifice and honor are themes which pervade the film. This must have played well to audiences of the time, and the tragedies which result may tug on heartstrings today. Welles sacrifices his life to fight for his country, and then sacrifices his happiness so that his wife won't be burdened by his injuries. His son wishes to follow in his footsteps, and is so eloquent and rational. There is naturally a tragedy to this, heightened as Welles speaks to both, without them knowing who he is. Thomas Paine is quoted in the best of their conversations: "A man who kept a tavern was standing in his door, with as pretty a child in his hand, about eight or nine years old, as I ever saw. And after speaking his mind as freely as he thought was prudent, he finished with this unfatherly statement: give me peace in my day. Remember that's what Chamberlain said when he came back from Munich: 'peace in our time'. A more generous parent would have said, if there must be trouble, let it be in my day, that my child may have peace." Unfortunately there are several moments that strain credibility. Out of all the employers in Baltimore, Welles happens to get a job with the man who has married his wife. Ok, we'll give the film that one, as it sets up everything else. But how about Colbert not recognizing him at all, via his voice or his eyes? Ok, he was supposed to be tragically disfigured and needed plastic surgery, so let's give the film that one too. But then her reactions when she begins to suspect that he's indeed her first husband? The line "you're John MacDonald" is so false, as it seems to refer to a stranger - not "you're John!", "John, I know it's you!", etc. In a film that is so full of emotion, this moment and those that follow between the two of them don't feel authentic. In general, the acting in the film is rather staid, which in part reflects the stoicism of the time, but also just average performances, much as I like the actors. The film also lays it on rather thick as the story plays out, and it gets a little heavy-handed in the direction it takes. A mixed-bag, worth seeing, but falls a bit short.

  • Nov 09, 2016

    Welles commands the movie that bridges world wars with separated love.

    Welles commands the movie that bridges world wars with separated love.

  • Oct 10, 2015

    My favorite performance by Orson Welles. He is astonishing as Erich Kessler and makes us ache along with the utter brokenness of his body and his life as we witness the story unfold through his riveting and unforgettable performance. The entire cast is superb. You'll fall for Welles in this underrated gem.

    My favorite performance by Orson Welles. He is astonishing as Erich Kessler and makes us ache along with the utter brokenness of his body and his life as we witness the story unfold through his riveting and unforgettable performance. The entire cast is superb. You'll fall for Welles in this underrated gem.

  • Jul 12, 2015

    Tomorrow is forever. John and Elizabeth are in love but John leaves for war. Elizabeth receives word John has died and remarries a man named Larry and they have a child. One day John returns home disfigured and sees his son, Drew. He must decide whether he wants to reveal his true identity or just help the family indirectly and watch over them from afar. "You call this being alive?" Irving Pinchel, director of She, Martin Luther, Destination Moon, The Most Dangerous Game, The Bride Wore Boots, and Temptation, delivers Tomorrow is Forever. The storyline for this picture is very good and has a wonderful classic feel to it. The acting is first rate and the cast includes Orson Wells, Natalie Wood, Claudette Colbert, and Richard Long. "He said I'll come back. I promise I'll come back." "They all say that." I came across this on Fios and decided to DVR it off Turner Classic Movies (TCM). This was a great film and definitely worth a viewing. I thoroughly enjoyed this masterpiece from beginning to end and strongly recommend viewing. "You torture yourself." Grade: A

    Tomorrow is forever. John and Elizabeth are in love but John leaves for war. Elizabeth receives word John has died and remarries a man named Larry and they have a child. One day John returns home disfigured and sees his son, Drew. He must decide whether he wants to reveal his true identity or just help the family indirectly and watch over them from afar. "You call this being alive?" Irving Pinchel, director of She, Martin Luther, Destination Moon, The Most Dangerous Game, The Bride Wore Boots, and Temptation, delivers Tomorrow is Forever. The storyline for this picture is very good and has a wonderful classic feel to it. The acting is first rate and the cast includes Orson Wells, Natalie Wood, Claudette Colbert, and Richard Long. "He said I'll come back. I promise I'll come back." "They all say that." I came across this on Fios and decided to DVR it off Turner Classic Movies (TCM). This was a great film and definitely worth a viewing. I thoroughly enjoyed this masterpiece from beginning to end and strongly recommend viewing. "You torture yourself." Grade: A

  • May 27, 2015

    strong WWII & WWI melodrama

    strong WWII & WWI melodrama

  • Jan 09, 2014

    Really good storytelling! Sure, there are flaws, but just watch and listen to the dialog and acting.

    Really good storytelling! Sure, there are flaws, but just watch and listen to the dialog and acting.

  • Jul 10, 2013

    Great Story...Tear Jerker..Must See

    Great Story...Tear Jerker..Must See

  • Apr 18, 2013

    A terrific cast helps this weepie come to life--Preposterous But Eminently Watchable Melodrama Thanks Mainly to an Enigmatic Welles!!

    A terrific cast helps this weepie come to life--Preposterous But Eminently Watchable Melodrama Thanks Mainly to an Enigmatic Welles!!

  • Mar 14, 2013

    Another brilliant classic,great afternoon viewing.

    Another brilliant classic,great afternoon viewing.