Tomorrow Is Forever (1946) torrent download

Tomorrow Is Forever

1946

Drama / Romance / War

7.4

Synopsis

Elizabeth and John say goodbye as John leaves to go to war. When World War I ends, Elizabeth receives a telegram that John has been killed in action. She finds comfort in Larry and they marry. John returns 20 years later, disfigured, with a new identity, Erik, and an adopted daughter, Margaret. John/Erik and Elizabeth accidentally meet and he learns that he has a son, Drew. John must then decide whether or not to reveal his true identity.

Director

Irving Pichel

Cast

Claudette Colbert
as Elizabeth Hamilton
Orson Welles
as John Andrew MacDonald
George Brent
as Lawrence Hamilton
Lucile Watson
as Aunt Jessica Hamilton
Richard Long
as Drew Hamilton
Natalie Wood
as Margaret Ludwig
John Wengraf
as Dr. Ludwig

Movie Reviews

Reviewed by jotix100 8 /10

War casualty

"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.

Reviewed by krdement 10 /10

Reason NOT Overwhelmed by Sentiment

I am stunned to see the vast majority of commentators describe this great film as "typical," "sentimental," and "melodramatic." That is to completely overlook the various philosophical and psychological aspects of the movie. Isolationism. Pacifism. Opposition to global hegemony and tyranny. All of these are at the essence of the dialog and the story. The need for humans to deny the temptation to live in the past and to embrace the future is the core of the movie - in addition to its TITLE. Reason must overcome emotionalism.

That is made especially apparent in the scene where Kessler (Orson Welles) implicitly compares Mrs. Hamilton (Claudette Colbert) to his young charge, Margaret (Natalie Wood). While Mrs. Hamilton lost her husband on another continent, the Nazis murdered Margaret's parents right before her eyes. She is terrified by a "popper" because it causes her to "relive" the sound of bullets, the smell of gunpowder and the sight of blood - her parents' blood. Kessler gently coaxes Margaret into pulling the string on a second "popper" to prove that she doesn't need to be a victim of her fears. She can learn that it is not dangerous, but a mere "toy." She can overcome.

The climactic scene between Kessler and Mrs. Hamilton is equally fabulous. The tension steadily mounts as Mrs. Hamilton presses Kessler to admit that he is her husband. Until his direct denial, the dialog is so sublime that it makes sense whether delivered by the woman's lost husband or by "Mr. Kessler." But it is not sentimental. To the contrary, Kessler's powerful philosophical arguments and psychological insights compel Mrs. Hamilton to reassess her life and come to the realization that it has been, is, and promises to be good. To throw that away for a memory would be sheer sentimental folly. "Embrace the good life you have" is the very clear message.

Generally the acting is superb, however, in particular this is possibly Orson Welles' finest performance. There are no obvious double-takes or overly-long stares that are dead give-aways in most films that deal with a character with a hidden identity. This is a fabulously subtle performance. Welles' makeup is a little obvious and theatrical, but is not a distraction.

In an incredible - and incredibly overlooked - performance, Natalie Wood convincingly portrays a young Austrian girl who speaks German as her native tongue, has lost both parents to Nazi violence and is suddenly thrust into a strange new country. Her performance is one of the best juvenile performances in all American cinema.

The Max Steiner score is also very good, although I wish it had been a little more sub rosa. Just turning down the volume of the score to make it a little more subtle would have improved the film a little. However, it beautifully captures the mood of each scene.

This movie has layers upon layers. It contains paradoxes and ironies that are profound enough for real reflection. The characters provide profound contrasts in philosophy and psychology. The device of having a husband apparently die (but in actuality refuse to return home because of his "broken" condition) provides ample opportunity for sentimentality. But that device is merely the springboard for a much richer exploration of the meaning of life and our place in the world. To fail to recognize this is to minimize this fabulous film and miss its point.

Reviewed by jjelgar 9 /10

My all-time sentimental favorite

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.

Read more IMDb reviews