...e domani il mondo

I had not heard of the film until I saw it on the Turner Movie Classics schedule. Seeing the subject matter and the 1944 date excited me. The writer, director and cast would be playing out the issues in real time, as the die was cast. I grew up in a household conflicted with stories and opinions of Nazi Germany. My mother is Jewish. My father was German and raised by a father who supported Hitler. I have always been fascinated by Germans who seem to be good people who choose to ignore the eventual outcome of Hitler's madness and defend Germany's need for him.

The characters each have their unique perspective and reaction to Emil as played masterfully by Skip Homeier. The desire to see only the good in a human being with no expectation that they are dealing with a fully brainwashed evil acting thug is such an American trait. This movie is simply made and concentrates closely on the story, and it's the story and the acting that is compelling. I think you will enjoy it if you enjoy a good psychological study. My husband was disappointed with the ending, I, however, was overjoyed and cried. P. S. It was nice to see Agnes Moorehead in her role. I have never seen her play such a "normal person".

A Nazi youth is taken in by his American uncle and his family.

As a kid, the movie scared the wits out of me. I was about the same age as Homeier, but he was so unlike any kid I'd ever seen, it was like an alien intrusion into familiar surroundings. It's certainly an electrifying performance. His authoritarian side is absolutely convincing, with the best heel-clicking this side of Konrad Veidt.

I suspect there's something of a post-war subtext to the film even though it was made in the war year of 1944. The big question posed by post-war planning and the movie is whether Nazis are reformable. That is, can a democracy succeed in a German nation where the Third Reich has sunk its roots. This was an important political question once it became apparent the Allies would win the war. In the movie, it's a question of whether the thoroughly indoctrinated Emil (Homeier) can be Americanized by the all-American Frame family. If he can't, then symbolically there will be great difficulty in de-Nazifying a post-war Germany. Anyway, I suggest this as something of a subtext to the movie as a whole.

It's a fine cast that creates a lively household, especially little Joan Carroll as Pat. Her energetic, forgiving spirit amounts to a persuasive contrast to the robotic Emil. For this now geezer, it was nostalgic revisiting the youth and fashions of the period (minus Emil, of course). Too bad Homeier never got the credit as an actor that he deserved. That's probably because he was so good at playing dislikable characters, as a succession of Westerns and crime films of the 1950's demonstrate. Here, he's practically the whole show, in a part that's unforgettable once you've seen it. I know it's been so for me.

Based on a play, the movie tells the story of an American family that adopts an orphaned German relative before the end of WWII. To their horror, the boy is a Hitler Youth who spouts anti-semitic rhetoric and boasts of Germany's ultimate victory (Tomorrow the World!). Fredric March gives his usual wonderful performance as the uncle, Agnes Moorehead is once again convincing as the maiden aunt lacking self-confidence, and Betty Field is great as the intelligent school teacher/fiancee who tries hard to understand the boy. The real treat here is Joan Carroll, who plays March's young daughter with such charm and ease that she just lights up every scene she's in.

Some dialog contributed by Ring Lardner, Jr., whose characteristic crackle is most welcome in what could be a preach-a-thon.

"Tomorrow the World", the play in which this picture is based, was popular on Broadway during the WWII era. It was to expect it made it to the movies. Ring Lardner Jr, one of the best American writers of the time undertook the film adaptation aided by Leopold Atlas. Leslie Fenton, the director made the best of it.

An American family living in the midwest accept to house and care for a German youth whose father was friendly with the head of the household, Mike Frame, a widower, with a teen age daughter.

When Emil Bruckner arrives, he immediately makes a blunder when he describes his plane trip seated next to a fat Jew. Well, little does this little brat know that Mike is seeing a school teacher who happens to be Jewish. Leona Richards is the epitome of kindness and patience. So is Pat, the daughter who tries to show Emil around and help him make friends in her circle. Emil does everything possible to destroy this family that welcomed him into their home. Little by little he tries to get his way until everybody finds out this little boy is a bully and a coward.

The cast of this 1944 movie is headed by the great Frederic March, one of the icons of the American theater and the film industry. He plays the decent Mike Frame. Betty Field makes an impressive appearance as the kind Lee Richards. Agnes Moorehead, is also good as Aunt Jessie, who is charmed by the rotten Emil. Skip Homeier, repeating his theater role is remarkable as the young Nazi sympathizer who gets a lesson in how wrong he has been about his American hosts.

This is a movie that has a dated look, but still makes an impression because of the strength of the treatment it received from the writers and the director.

Lately I've been wondering about TCM's rating system. This is the second time I've been burned by a bunch of stars next to a film. I think they need to relook at some of these movies.

"Tomorrow, the World!" is based on the Broadway play. The film stars Frederic March, Skippy Homeier, Betty Field, Agnes Moorhead and Joan Carroll. Skippy is Emil (recreating his Broadway role), a German boy who comes to America to live with a scientist, Mark Frame (March), his sister (Moorhead) and his daughter (Carroll) - she's the same age as Emil. Field plays Leona Richards, a schoolteacher who is engaged to Mark. Emil has been indoctrinated by the Nazis to hate and to be prejudiced and also to lie and manipulate. The fact that Leona is Jewish and that Mike's insecure sister seems uncomfortable about the marriage plays right into Emil's hands, as he doesn't want Leona around.

Skippy was Skip by the time I became aware of him, and he was always a very likable actor and for baby boomers, a constant television presence. This was my first exposure to him as a child. He was a beautiful young boy, with a mane of blondish hair and enormous eyes. "Tomorrow, the World!" a propaganda film directed with a sledgehammer, is his screen debut.

In the beginning I was suspicious that it might be a comedy due to Skippy's totally outrageous performance as a Hitler Jugend. For one thing, tiny Natalie Wood could have taught him something about German accents and speaking German - she was perfect in "Tomorrow is Forever." He says his lines in a sing-song voice, often sounding Swedish, sometimes American; only sometimes is there a hint of German, and he speaks German like an American. In the second part of the film, however, he's very effective, really showing what he can do acting-wise. It's just a shame he was directed as he was. In his faux nice moments, he comes off like a German Eddie Haskell or a male Patty McCormick - you just don't buy it.

The biggest bone I have to pick with this film is the stupid soap opera part, which is the argument between Leona and Mark. Mark for reasons known only to himself thinks that Emil is becoming nicer and more acclimated to the American way; Leona disagrees with him passionately and says she cannot live in the house with the boy, thus breaking their engagement. Mark feels she's being unreasonable. Now, if only she'd thought to mention that precious little Emil had written "Miss Richards is a Jewish tramp" on a bunch of sidewalks, Mark might have understood that Emil's attitude wasn't improving as rapidly as he thought. But she fails to mention this nugget of info.

The second part of the film is far superior to the first. March, Field, and Carroll are very good in their roles. I agree with several posters here that Skippy dominates the film, but that isn't always for the right reasons.

The ending is too pat - that often happens when you only have less than two hours to make a point and you've spent most of it talking about America and its strengths. I suspect "Tomorrow, the World!" had more impact in 1944, though it's hard for me to accept that anyone ever believed Herr Skippy in his sweet, friendly moments.