Morgen ist die Ewigkeit

This is a lot more than a simple melodrama. It has elements of fantasy like "It's a Wonderful Life" or "A Matter of Life and Death". Although the drama on the surface is possible, the coincidences are so improbable that one senses a moving hand and that things are not as they seem. The film takes on the sheen of a lucid dream. There are allegorical elements, for example, the little girl made an orphan by the Nazis and forced to flee. She stands for all suffering Europe in the shadow of that terrible war, which had just ended. One can simply accept the surface story, or dig deeper for its meaning. One thing is certain, there is no way a simple melodrama would carry such a feeling of emotional weight and genuine pathos, in the Greek sense.

The acting is wonderful. Orson Welles gives one of his great performances. It is so strange that one never hears of this film. I just happened to catch it on TCM and to say I was startled, would be an understatement.

This is why we love movies.

"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.

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.

Rather unsung, but worthwhile, this tear-jerking wartime drama will entrance some viewers while unintentionally amusing others. Colbert plays a young newlywed whose husband (Welles) goes off to fight in WWI. He is severely injured, refuses to come home to her (or even give his name to authorities) and is presumed dead. Pregnant and alone, she relies on her employer (Brent) and his aunt (Watson) and before long agrees to wed Brent, who is very much in love with her. Flash-forward twenty years and Colbert and Brent have two sons, the first one actually Welles', though this is kept secret. Welles, crippled, aged, bearded, wearing thick glasses and sporting an even thicker accent comes to town to work for Brent, never dreaming that his former wife is now Brent's spouse. Just as Colbert has finally found a degree of happiness and has nearly forgotten Welles, whom she loved deeply, WWII threatens to break out and her eldest son (Long) is eager to go and fight! The film details the questions, mysteries and miseries of Welles and Colbert as they encounter each other again after two decades. Unabashedly sentimental and heart-tugging, it is likely to please fans of tear-jerkers while causing the eyes of pragmatists to roll feverishly. Colbert is lovely and exceedingly good in her role. It's always distracting, in hindsight, to view Colbert's films and observe the way she refuses to allow herself to be shot from her right side, but she's not as bad about that here as in some other films. Welles is mercilessly hammy and is buried under some truly horrendous age makeup. He goes way overboard in virtually every area, yet somehow it works to the film's benefit! Brent, already one of the most wooden of actors, is made even more so by the presence of Welles, but it's a nice contrast. Long has a particularly good early role (even if he hadn't quite grown into his nose at this point!) He is given a strong, sizable role for an actor his age. The always-reliable and entertaining Watson gives solid support. One of the greatest things about the film, however, is the utterly adorable and memorably adept presence of Wood as Welles' adopted daughter. Impossibly articulate, inhumanly precious and achingly touching in her role as a war orphan, she is a thorough delight. It was her first major role and she handles it with surprising poise and assurance. Her older sister instructed her on how to cry during the film, suggesting that she recall a ghastly accident she had witnessed involving her dog being hit by a car. It's very poignant to see her dainty little fingers helping Welles unbutton his vest, knowing that her life would later end so tragically. Working alongside Welles no doubt helped prep her for her famed role opposite Edmund Gwenn in "Miracle of 34th Street" one year later.

I tried to see this film before because I remember the very beginning, but I guess I was interrupted. This time I saw it through and realized I was watching greatness. This film has outstanding dialog and a very nuanced script. Oh if people today could only write like that....it is no wonder I watch old movies. This film is a clinic on dialog.

The acting was great across the board but the direction, story, script and casting were especially good. It was a tightly woven story and an unusual one at that.

Wells put in his best performance. Could it have been better, maybe but the way he delivered those heart rending lines...........well maybe it couldn't have been much better. His deep rich voice together with the tenderness, wisdom, and compassion. Well it doesn't get much better. People who didn't appreciate that have not actually experienced life yet. Do not miss this when it comes around again, I know I won't.

How good was it? Well this is the first time I felt compelled to comment on any films here.