| Complete credited cast: | |||
| Claudette Colbert | ... | ||
| Orson Welles | ... |
John Andrew MacDonald /
Erik Kessler
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| George Brent | ... |
Lawrence Hamilton
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| Lucile Watson | ... |
Aunt Jessica Hamilton
(as Lucille Watson)
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| Richard Long | ... |
Drew Hamilton
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| Natalie Wood | ... |
Margaret Ludwig
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| John Wengraf | ... |
Dr. Ludwig
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| Sonny Howe | ... |
Brian Hamilton
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| Ian Wolfe | ... |
Norton
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| Joyce Mackenzie | ... |
Cherry Davis
(as Joyce MacKenzie)
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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. Written by Kelly
WWI newlyweds Claudette Colbert and Orson Welles meet heartbreak when he goes missing in action and is written off as dead. Pregnant with Welles' child, she ultimately marries her boss, industrialist George Brent. Twenty years pass; war clouds are once more gathering over Europe. Brent brings over to work in his firm a Viennese chemist who turns out to be -- Orson Welles, bringing in tow a blonde, very young (her debut, in fact) Natalie Wood, speaking German.
Ever the gemutlich gentleman, Welles keeps his cards close to his vest, even when talking about the "situation overseas" with the strapping lad he now realizes is his son, who wants to enlist in the Canadian Air Force. Colbert, however, is deeply conflicted. She comes to resent Welles' presence while nonetheless suspecting that he may in fact be....
Tomorrow Is Forever addresses the dislocations and disruptions of wartime in a manner unusual for American movies of this era. Somewhat far-fetched and sentimental, it's a well cast topical weeper that manages, paradoxically, to maintain a tone of high seriousness while nevertheless skirting most of the issues it raises. Long on emotion, it falls short of real insight.