TOMORROW IS FOREVER

US, 1946, 105 minutes. Black and white.
Claudette Colbert, Orson Welles, George Brent, Lucille Watson, Richard Long, Natalie Wood.
Directed by Irving Pichel.

If one were to nominate a candidate for a typical film from the golden years of Hollywood, quality script, cast, emotions, values, then Tomorrow is Forever would be a solid candidate.

The film was based on a story by Gwen Bristow, and written by Lenore J. Coffee, prolific screenwriter from 1919 to 1960. Her films include White Banners, Old Acquaintance, The Great Lie.

The film has a World War One setting to begin with. Claudette Colbert portrays a young woman, pregnant, married to Orson Welles who leaves her to go to serve in World War One where he is wounded, does not want to return maimed, and lets it be thought that he had died in action. In the United States, the young wife is supported by the director of a company, George Brent. The film then makes a transition of twenty years, the eve of World War Two.

It is then revealed that Orson Welles has taken on an Austrian identity, is a top scientist, comes to the United States to advise in industrial matters. He brings with him a little girl whose parents have been killed by the Nazis. The little girl is played by Natalie Wood, very young, showing great talent and screen presence.

The main thrust of the film is whether the wife will discover the truth about her husband – and, when she does, what will happen.

Claudette Colbert was very good at this kind of role. Orson Welles, five years after Citizen Kane, and still young, is very effective in the role of the husband-scientist. George Brent is very sympathetic as the second husband.

The film was directed by Irving Pichel, who had directed a number of religious films for independent religious groups including the 1939 The Great Commandment where he supplied the voice of Jesus. He also directed Martin Luther, with Niall MacGinnis? as Luther. His last film was also a biblical, gospel film, Day of Triumph.

1. 40s film-making? Black and white photography? Strong dialogue? Elegant film-making, emotional? Issues?

2. The war context, the release of the film at the end of World War Two? Memories of World War One? The experience of World War Two, the dilemmas about American involvement, especially before the bombing of Pearl Harbour?

3. The strong cast, the powerful performances?

4. The title, not focusing on the past but on the future, John’s explanation to Elizabeth?

5. The story opening on Armistice Day, 1918? The experience in the United States, American involvement, the troops in Europe? The happiness of the staff at the factory, the speeches, Elizabeth and John, her memories, hoping for John to come back? Larry as a support? Her situation at home, pregnancy, the arrival of the letter, her reading it, her grief, the flashbacks and her final encounter with John, the uniform, his going to war, her not wanting him to go? Their short time in the house?

6. The Hamiltons and their company, Larry and his care for Elizabeth, his love, Elizabeth and the birth, Larry’s support? Aunt Jessie and her support? Larry and the proposal? The marriage? Twenty years, the two sons, family life, the memories of John, 1939?

7. John’s story, seeing him wounded in Europe, Doctor Ludwig and his helping him, John remaining anonymous, Doctor Ludwig urging him to live? His not wanting to go home maimed? Staying away for twenty years?

8. John as Erik, Orson Welles’ presence, the different makeup, appearance, the different characters? Erik? His coming to the United States on the boat, with Margaret? The talk on the boat, the experience of Hitler, docking, his being met, the question about his documents, being let into the United States? The issue of his health? Going to Baltimore, the irony of his returning, passing the house, his memories? Margaret with him? His commission for the Hamiltons, Larry supervising his work?

9. The visit to the family, Elizabeth and her premonition? Her feelings? The courtesy? John and Drew? The family life of the Hamiltons? The return visits, Margaret being welcomed? The issues of language and her proper way of speaking? Playing the game of horseshoes? The gunpowder and her fears, crying, Erik telling her story? The Nazi killing of her parents? Erik’s tribute to Doctor Ludwig? Doctor Ludwig’s heritage living on in his daughter? The heritage of parents living on in their children – John and his influence on Drew?

10. Erik working with Larry, the details of the work? Drew and his interest in history, Drew and his wanting to enlist? Elizabeth’s reaction? The influence of her response to John’s enlisting?

11. Elizabeth, going to the house, finding Erik there? The hypothetic conversation – if he had returned, what would have happened, twenty years’ absence, a change of life?

12. Drew, his points of view, discussions with Erik, Elizabeth’s reactions? Drew’s letter, Erik and the phone call, reading the letter, going to the station, the rain, his persuading Drew to return? Drew being pressurised by his friends? His earnestness in wanting to join up, go to Canada, enlist?

13. Erik, getting drenched, talking with Elizabeth, his health, Elizabeth and the admission of the past? Telling her not to dwell on the past?

14. Elizabeth, Larry, their going to the apartment, Erik’s death, Margaret and her grief?

15. Erik, his urging Elizabeth not to go back to the past, to break the links, the letter and his burning it? Elizabeth and the photos? Jessie’s response?

16. Drew, the freedom to go to war, the war effort, the film contributing to this patriotism? The decision that Drew should not know who his father was?

17. An entertainment with sensibilities from a past age?