Tomorrow Is Forever

"Tomorrow is Forever" is a typical example of the type of films that came out of the Hollywood of the 40s. This seems to have been brought to the screen as a vehicle for Claudette Colbert, one of the most admired actresses of that era. Under the direction of Irving Pichel, we get a wonderful account of a woman whose husband is killed during the last days of WWI. The music score by Max Steiner enhances the film, although it feels obtrusive, at times.

Claudette Colbert was a prolific star of all the melodramas that were tailor made for her to shine. Her Elizabeth Hamilton in this film is a typical role she, and other actresses, played during that era. "Tomorrow is Forever" is interesting because of Orson Welles' appearance as the supposedly dead husband that returns under a different disguise.

Today's audiences don't have patience to deal with what for the movie going public in the early days were able to allow in the reality department. Some negative comments to this forum express that viewpoint, but in spite of them, films like this will always be immensely rewarding for those fans that feel comfortable with the plots created for this type of movies.

Claudette Colbert makes a wonderful Elizabeth. Orson Welles was the real surprise in the dramatic role that Ms. Colbert championed for him, at a time of his life that he wasn't recognized for his genius. George Brent, a reliable actor, is seen as one of the decent men he played in films. Lucile Watson, as Aunt Jessie, is an asset. The young Richard Long plays Drew, the eldest son that has no clue who his father really is, but grows up believing the kind Lawrence is his dad. Natalie Wood as the young German girl, Margaret, showed a talent for stealing scenes from much established actors.

This is a film to be cherished by people who love the genre.

Take a journey back to the mid-40s and enjoy this weepie about lost love and balancing pleasant memories against present endowments.

Colbert's character must wrestle with what she "lost" twenty years ago and what treasures she now has. Welles' character is there to assist in her deliberations, while Brent offers a conciliatory bridge between what was and is now.

The casting couldn't be bettered: what a treat to see Colbert and Welles working together. This provided Orson with one of his most sensitive roles, and he plays it with great compassion. Colbert and Brent are both excellent, and young Natalie Wood offers a most impressive performance as a war refugee. Richard Long is likewise fine as an idealistic young man wanting to do his part to make this a better world.

Max Steiner's score is unusually rich, complete with high voices mixed with strings, and a romantic main theme highlighting the essence of this sentimental script.

Irving Pitchel's direction is on target for this emotional material. Very beautifully rendered.

Since the first time I saw this wonderful film on late-night TV, maybe 30 years ago, it has been my sentimental favorite. Every time I've seen it since, once a year on average, it's made me weep; not many films ever have this effect on me, even once. I simply don't understand why it isn't better known, not to mention better regarded. The touching story, fine direction, good score and superb acting add up to a great experience. For me, the performances by Claudette Colbert and Orson Welles are their most effective; hers ranks with her work in "Three Came Home" and "Since You Went Away," while his is even finer than in "The Stranger." Anyone who loves a good old-fashioned love story, sob story, multi-generational saga of the type Hollywood used to make so well should give this one a try.

What a powerful story! So powerful to me, at least, that I have only watched it one other time and have little desire to see it again.....even though it's a fine movie. It's too frustrating a story for me, frankly. I could NOT have done what Orson Welles' character did in this film. Welles, by the way, is outstanding in here. He, Claudette Colbert, George Brent and Richard Long provide some wonderful acting.

Long, playing the elder son, presents a tremendous contrast of how a young man acted back in the 1940s compared to nowadays in terms of of respect and manners. The little girl in here is played by Natalie Wood. I wouldn't have known it was her had she not been mentioned on the back of the video box. She has blonde hair and is about five or six years old, and does an impressive job speaking German.

This is a real heart-rendering story. The only drawback is the credibility of Colbert's character, "Elizabeth Hamilton," the wife of Welles. A supposed war victim and gone for years after his marriage to her, Wells - despite now having a beard and aging a bit - would still be recognizable (at the least, audibly) to his former wife. It was asking a bit much to believe she wouldn't realize it was him, but it's still good storytelling and a film that hits you deeply. Speaking about the last point, if you liked 1942's "Random Harvest," you probably would like this, too.

This excellent 1946 vehicle provides Orson Welles with a role that he is most sympathetic with. Married to Claudette Colbert in this film, he is soon declared missing and dead. Colbert quickly remarries a wealthy gentleman who is most sympathetic when this apparent tragedy strikes.

Fast forward 20 years. By chance, Colbert comes across Welles in a new disguise. This is all coming about as World War 11 will envelop Europe. It appears that Welles was not killed off during World War 1, but merely was missing and apparently suffering from amnesia.

The film becomes a heartbreak after this. Both Colbert and Welles really are conflicted here. She suspects that he realizes his true identity now and he realizes that the son she bore is his.

Both Colbert and Welles put on some very fine acting here in this film where you had better have plenty of handkerchiers available.