Welcome Home - Ein Toter kehrt zurück

The scenes of high emotion work extremely well in this drama. However, not all the drama delivers. Some of the dialogue is strained and there are stretches when I honestly had no idea what anyone was talking about.

Kristofferson is very good for the most part but is wooden at times too. Jobeth Williams, Brian Keith and the late Trey Wilson make an impression in their scenes. Sam Waterston is not given a whole lot to do but stand around and look confused but he does have one great scene with his stepson regarding the return to life of Kristofferson.

The end might have been needlessly sappy, but it got to me anyway.

This film is good,but not Schaffner`s best. My favourite is Papillon and Patton,but this is a sad and very nice film. Kris Kristoffersen is good in this movie and really makes a difference. I am going to miss Schaffner and this is his last film.

A good film by a great director! 7,5/10

I saw this movie in the theatres in 1989, and it's horrible memory lingers on to this day. What to mention first? The gushing tears that too often grace the character's cheeks? The horrible plot device of having JoBeth Williams kneel in front of her record player crying while Your Song by Elton John plays in the background? The sappy teenaged son of JoBeth and Kris?

The convenient million or so dollars that Uncle Sam drops in Kris' lap, allowing him to buy a house and a car, unlike most other Vietnam Vets?

Or the ease and guiltlessness with which JoBeth hops in the sack with Kris again, after all these years, and despite his deathmasklike craggy features, and despite being married to a much nicer guy, Sam Waterston, who plays the cuckold well, but is totally wasted in this picture.

Insipid soundtrack and gushy spineless characters. Not a good combo.

How I wish Kris' former family turned their backs on him, after asking a few penetrating questions like "Where the hell have you been?" or "Why didn't you try to get in touch with us?" or "How's about moving to another part of the country and leaving us alone?"

This was a really nice surprise. I was up late last night and couldn't fall asleep. Not really thinking twice, I turned on my TV and HBO was on, and this film was just beginning. Luckily I saw the whole thing, and I am very happy I did. Because this film was very good. The actors were well-cast, and they did a surprisingly good job. Kris Kristofferson delivered a solid performance, there was a lot of substance behind his lines. This film made me realize he's a good actor. Brian Keith was great as his father, as was Trey Wilson playing the Colonel (this was Trey Wilson's final role before his untimely death. Too bad, he was a quality actor and seemed like a nice guy). Jobeth Williams also did a nice job as Kristofferson's American wife. As far as the direction, I had no idea Franklin J. Schaffner was the director until I read the review in Leonard Maltin's Movie Guide(this was the last film he ever made). Now I understand why this movie was so good. Schaffner also directed Patton, a truly great movie(I haven't seen his other great film, Papillon). While I was watching "Welcome Home", I said to myself, "this director really knows what he's doing," not knowing that Schaffner had directed it. There's one really beautiful scene in a Thai orphan refuge, enough to bring tears to my eyes. Not only was this sensitively directed, but it was also directed in a very economical and taut way. There is nothing wasted in Schaffner's effort. The script was one reason this film is so good. The writer doesn't weigh the actors down with too many lines. It was written very simply but very effectively. It just shows you that a lot can be said with few words. This film also made me proud to be an American, at the same time that it showed you how beautiful ALL people are.

Seventeen years after his remains were supposedly delivered to the United States, Kris Kristofferson returns to the United States from his refuge in Thailand, where he had built a new life. His wife, Jobeth Williams, has married Sam Waterston, and his son, Thomas Wilson Brown, thinks of Waterston as his father. Kristofferson's mother has died, but his father, Brian Keith, is overjoyed. Kristofferson tries to fit back in, with the Army on his back because his return would be inconvenient.

It's Franklin J. Schaffner's last movie, released a couple of months after his death. Like many of his movies, it pits the lone outsider against a paranoia-inducing system he doesn't understand. However, unlike his earlier movies, the telling of this one is more standardized. The camerawork by Fred Koenkamp is solid but not flashy. The editing by Robert Swink is efficient. The story is carried by the actors -- but then Schaffner had always been a fine director of actors.

Still, the net result is a soap opera tinged with We-Were-Betrayed paranoia. Schaffner was held in high esteem by his peers; he was President of the Directors Guild of America at the time of his death. Yet he had become a director-for-hire on all sorts of projects that seem beneath his standards. Early on, he had directed prestigious works for TV, projects like the first version of TWELVE ANGRY MEN, PETER IBBETSON and ANTIGONE; his movies had included THE BEST MAN, PATTON and PAPILLON. By the 1980s, he was directing -- or trying to -- Luciano Pavarotti in YES, GIORGIO.

There is a cycle for a creative artist: young and full of ideas, older and in control of his craft. The fortunate retire at their peak. Those who continue the race after their time has passed seem to be worn out, their later works subject to the apologies of critics who don't seem to understand that talent, ability and opportunity are fleeting things, and Hollywood, and the applause of the audiences even more so -- especially egged on by critics, always looking for the bronzen god's clay feet. I think that Schaffner did as much with this movie as he could, but script and budget failed him. All he had left was the actors, and he got a lot out of them.