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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.

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.

"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.

Touching weeper about a man (Orson Welles) who goes off to fight in WWI, leaving his wife (Claudette Colbert) behind. Colbert is told he was killed in action but, in fact, he survived but was badly disfigured. He allows his wife to believe he is dead so that she can move on with her life. Decades later, Colbert is married to another man (George Brent). The son she was carrying when she believed Welles had died is now grown and believes Brent to be his natural father. Welles arrives in America to work with Brent, not knowing he is married to Colbert. Welles also brings along his adopted daughter (a very adorable Natalie Wood). It's a good movie of its kind with a trio of great leads and some impressive support from Wood in her first sizable role. It's also directed by Irving Pichel, an actor-turned-director who was quite underrated as both.

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.