Beyond Tomorrow (1940) User Reviews

It wears its heart on its sleeve...but there's such conviction in the sentimentality that it plays out honestly

[moonspinner55 · 7/10 · 16 November 2008]

A crazy-quilt of drama and emotions, initially with a holiday theme, about three elderly New York businessmen, workaholics who have unintentionally become hermits, finding themselves friendless on Christmas Eve; after throwing their wallets out into the street, they are greeted with two honest souls (a soft-spoken, singing cowboy and a kindergarten teacher) who eventually fall in love...and that's just the beginning of the story! The narrative takes on a bundle of different themes (unexpected death, youthful romance, the cause and effect of success, after-life fantasy), yet the end results are fairly smooth (although, after the forty-minute mark, the picture becomes almost a different movie altogether). Perhaps it wouldn't work so well if not for Charles Winninger's lovely performance as the twinkling Irishman who brings the young folks together. Winninger has a moment late in the proceedings, talking to the heavens, that is both blissfully serene and fraught with emotion--honest emotion, the kind Hollywood sometimes has trouble creating. The film's message is clear--if you give unto others, you're sure to receive--and if that strikes some viewers as corny, so be it. However, the filmmakers do wonders with several ideas which have since become old-hat, and the three codgers are fabulous characters who transcend some of the more obvious plot-developments. In fact, the movie is such a surprise, I would imagine more TV-airings might turn it into a holiday perennial. *** from ****

A Christmas Classic Given a Second Life

[sbibb1 · 7/10 · 19 December 2006]

Beyond Tomorrow is a film that should be considered a Christmas classic, but sadly is film which has slipped through the cracks. This film began production in 1939 at General Service Studios which was rented out by Academy Productions, Inc. The film was released in May 1940, certainly not during the Christmas season. The film was distributed by RKO. This film was considered to be a second feature, or B picture. The cast, which are excellent in the roles, are all supporting players in other films, but here they are given the lead. This film was known as an "orphan" film. The copyright on this film was allowed to expire when Academy Productions went out of business. Because this film didn't have major stars in it, the film was not widely replayed during the Christmas season, except in smaller local markets. Interestingly, "It's A Wonderful Life" really only became the classic film it is, because it too slipped into the public domain, and repeated TV viewings around the holidays insured that film would become a classic.

In the age of DVDs "Beyond Tomorrow" would soon find a new life, and would appear on any of a number of DVDs from various film studios. Most of these DVDs, regardless of price, would use the same source material, mainly the print stored at the Library of Congress as part of it's copyright deposit collection. The film print that most people are used to is very dark, with cuts and splices throughout.

In 2005 the film was put out in a colorized verison on DVD. The distributer of the film is listed as 20th Century Fox, however the film was colorized by a different company. The colorization, though a major improvement over techniques used in the 1980s, still has its limitations. The color is muddy, very unrealistic, and even distracting. The print that they colorized, while a different print then the ones used on most other DVD releases of this film, was still poor, and that is reflected in the colorized version. Additionally several short scenes were cut from the color verison, but these scenes are included as "deleted scenes" on the DVD. Had these scenes been left in the film the movie would have made a bit better sense.

Sprightly Help for the Lovelorn from the Great Beyond

[lawprof · 8/10 · 15 August 2004]

"Beyond Tomorrow" from 1940 begs to be re-discovered by today's somewhat jaded and special effects over-saturated audiences. Director A. Edward Sutherland knew his business and even if his films aren't top drawer Hollywood, they're not backlot dreck either. Thanks to Alpha Video this film was a mere $4.99 at Manhattan's J&R superstore.

Many movies feature a departed-from-this-mortal-coil soul aiding those left behind to find love or, perhaps, solve crimes. It's hardly a novel genre. Most are hokey even with top stars (like, say, Robin Williams). "Beyond Tomorrow" with effects pretty good for the times is a charmer from beginning to end.

Three gentlemen, getting on in years, are very successful engineers who live in a palatial town house in Manhattan. In addition to being business partners they're close friends. George Multon (Harry Carey) has a mysterious past act taking a ride on his conscience. Ramrod straight Alan Chadwick formerly served in a British regiment in India. Jovial Michael O'Brien (Charles Winninger) brings a blithe Irish spirit to the trio's Christmas Eve. The engineers have two housekeepers, Madame Tanya (the versatile actress of stage and screen as well as drama teacher Maria Ouspenskaya) and the butler Josef (Alex Melesh). The two Russian emigres have their own story: refugees from the demise of the Romanovs, Madame Tanya voices her thanks at being in America to which Josef concurs (these actors had no later problems with HUAC).

A novel ploy is hatched by the tuxedoed engineers to brighten up their Christmas Eve. Each hurls a wallet with his business card and a $10 bill to the snowy sidewalk outside their manse. The idea is that whoever returns the wallet and money will be invited to dine in sumptuous luxury.

An actress, Arlene Terry (Helen Vinson) takes the money and throws the wallet to the ground. This is the real beginning of fantasy in the flick as such behavior didn't then and never could happen in Gotham. But a handsome guy from Texas, a would-be crooner, James Houston (Richard Carlson), and a nice gal, Jean Lawrence (Jean Parker), return the billfolds. (This was a decade before Carlson became the nation's and the FBI's hero as the patriot who penetrated the Evil Empire's domestic operation as shown in "I Led Three Lives." Carlson enjoyed a prolific if not artistically important screen and TV career.)

Wouldn't you know that neither had any plans for Christmas Eve.

So the two single folks, alone on Christmas Eve in New York, meet at the old codgers' roost and, of course, an immediate attraction ensues. Amused and moved by the instant romance formed under their roof, the engineers more or less adopt the couple.

But then...tragedy strikes. Ignoring the ominous prediction of disaster from Madame Tanya, the trio fly off to get new business and perish when their plane hits a mountain. Everyone's grief stricken.

But, at least for a while, the three dead guys come home to try and manage affairs. And they find a big problem. Discovered as a singing sensation Jim is at risk of being seduced by the divorced (1940s signal for "Loose Woman Dead Ahead") Arlene Terry (remember, we already know she's a snake because she didn't return the wallet).

Poor Jean is increasingly left alone while Jim pursues his career and Arlene pursues him. The ghosts lament his approaching indiscretion but can they save the day?

Much of the story is predictable but the acting is first-rate. Winninger's O'Brien will capture the heart of all who enjoy lovable Irishmen with deep hearts and a hardy brogue.

Jean Parker is adorable as the big-hearted kid who finds and almost loses love in the Big City.

This wasn't a big budget film but for the time the spectral characters are pretty state-of-the-art. The outcome is never in doubt but the trip there is charming.

Readily available on DVD: go for it.

8/10

Makes A Simple Idea Work Rather Well

[Snow Leopard · 1 December 2005]

This takes a simple idea and makes it work rather well, thanks to a good cast and just enough detail to create an atmospheric setting. Director A. Edward Sutherland moves the action along at a slow, deliberate pace, yet most of the time this fits in well with the nature of the characters and the story. The slow pace allows you to think a little more about the characters, and it often gives you a chance to anticipate what comes next, giving the story a feel of inevitability despite its more fanciful aspects.

The movie divides into two major sections. The first part is an upbeat series of vignettes, as the three elderly rich men befriend and help the two young lovers. The second part forms an interesting contrast, as the spirits of the three mentors, from the afterlife, try to help their young friends through some difficulties and trials. The light and ever-hopeful tone of the first half gives way to serious and often anxious drama in the second part.

The casting is a big part of making it work. As the older benefactors, Charles Winninger, C. Aubrey Smith, and Harry Carey form a good trio, working together believably and making for an interesting contrast with one another. Winninger as the happy optimist, Smith as the mellow realist, and Carey as the anguished pessimist all do a good job of bringing their characters to life. Likewise, Richard Carlson and Jean Arthur fill the roles of the young hopefuls sympathetically. Maria Ouspenskaya and Helen Vinson are also good in their parts.

For all that the story is openly sentimental, it generally avoids becoming moralistic or preachy. It just presents the characters for what they are, and allows the story and characters to speak for themselves. It's not one of the very best movies of its kind, but it's not really that easy to make any story like this work without becoming cloying or saccharine. So this is a creditable movie, and one that probably deserves to be a little better known.

It's definitely a sentimental journey, even for 1940

[AlsExGal · 6/10 · 24 December 2023]

This one has philosophies of heaven and hell that won't appeal to some, but its sincerity does work to overcome that. If I saw such a film today, made in the last 50 years, seeming to coopt Christian philosophies and mix them with common superstitions and even Hinduism, I would wonder if it was made by some cultish outfit like the Moonies, but these were simpler times, so I doubt that.

Charles Winninger (Michael), C. Aubrey Smith (Allan) and Harry Carrey (George) play three well off mining engineers in New York finishing up a big project on Christmas eve and expecting guests for dinner. When the guests cancel, the trio decide to throw three wallets out of their front window, each with their card and ten dollars, to the busy sidewalk below to see if anybody returns them. Whoever brings the wallet(s) back they'll invite for Christmas dinner. George's wallet is taken, but the other two are returned, one by a young woman working at a children's hospital (Jean Parker as Jean), and the other by a visiting Texan (Richard Carlson as James).

The five become good friends, and Jean and James fall in love and plan to marry, but just as they plan to tell their three new older friends the news, they hear that the trio have died in a plane crash on their way to a work site. At this point the three become ghosts, returning to their home, but with no real instructions as to what they are doing here. Complications ensue.

There is just lots of weirdness going on with the plot, and I've heard that some scenes are missing as the film long ago fell into the public domain thus the elements are shaggy. George is the grump of the group - He's not unkind just cynical. The three old engineers go off to heaven or hell one by one, in time. George is the first to go, and it is implied he's going to hell or purgatory because he's a grump. Yet he's been right at every turn - His tossed wallet WAS stolen rather than returned during the trio's experiment and James DOES fall for a bad woman. Michael says George will be forgiven if only he'll say he was sorry. Sorry for what - being right???

Helen Vinson plays the female temptress and singer who leads James' attention away from Jean. She does it sneakily, under the guise of helping James' singing career (and you have not lived until you've heard Richard Carlson talking like a member of the cast of Giant and singing - obviously dubbed - like he's the Great Caruso, but I digress). But strangely she is also the person who finds and keeps George's wallet earlier in the film when the three are performing their experiment. What is she doing, parked there, in front of the trio's house? And in the world of Beyond Tomorrow it is apparently possible to be blind drunk and yet follow a car that is as far as a mile ahead, in total darkness, then later fire a small caliber weapon from across a large room with deadly accuracy.

I'd mildly recommend this as a Christmas curiosity rather than a classic.

Sentimental Sweet Melodrama

[Sylviastel · 7/10 · 18 November 2013]

I really wanted to see Maria Oupenskaya, a Russian American actress, who trained Ruth White among others. Tragically she died in a fire. This film is the first I was able to see. Back in the studio system days, films like this were done quickly and more efficiently. If anything, the quality of writing isn't great. Still the cast do a terrific job with the script. The Christmas dinner and party was delightful to watch. The tragic loss of the three elderly wealthy men who return as spirits who guide the young honest couple back to each other. The film might have quality issues with the DVD. Still the film is worth seeing at least once and should be aired around the Christmas holidays.

Sentimental fantasy

[tonypapaleo · 7/10 · 8 August 2004]

I found this little gem buried in one of those 50-movie megapacks of public domain movies put out by Treeline Films; you can probably find it on any number of DVDs from the PD houses. It is not something a viewer is going to actively seek out, it apparently has no reputation that brings it to the attention of cinephiles, and that's a shame. Released in 1940 by Academy Productions, which disappeared soon after, (If anyone knows what happened to it, if it possibly merged with other poverty-row studios in the 40's, I'd like to hear about it); the film does disguise its low-budget origins expertly behind atmospheric photography and skillfull editing and direction.

The story begins with Milton, Chadwick and O'Brien, wealthy but friendless owners of a engineering firm, living (together!) in a mansion, presumably in New York. It's Christmas Eve, and through a naive plot device end up inviting two young strangers to have dinner with them. The girl works at a pediatric clinic, the boy is from Texas and apparently broke and wandering the streets. They are both easily convinced to staying for dinner despite being lured into the mansion under questionable circumstances, and she ends up letting the young stranger walk her home. Such is the sensibility of a movie from 1940.

Back then, we still had the Great Depression, as uneasiness over possible war made a movie-goer look for a positive feeling towards humanity. If it can be argued (and I think I will) that 1939's "Wizard of Oz" pandered to desire for isolationism ("There's no place like home"), then 1940's "Beyond Tomorrow" offers reasons to go out of your way, even over-extend yourself to help another human being in need. In fact, I would recommend showing this film in a double feature with "Oz."

This movie does this in an almost film noir style (darkness helps disguise the limited budget and optical effects). All the characters are come from easily identified stereotypes, and the use of familiar character actors, including the sublime Maria Ouspenskaya, creates a visual short-hand so we recognize who they are immediately. The three old gentlemen all come from the same font, but each has their different origins and characteristics to portray distinct human qualities. The most interesting is Harry Carey's George, troubled by a dark deed in in his past that calls into question his admission through the Pearly Gates.

When the three old codgers are killed in plane crash, their ghosts remain here for a while to finish guiding their young couple through the standard plot: They love each other, he is tempted by success and a bad woman, a jealous husband (it could be her ex-, that's what she said, and in 1940 we would have taken that at face value, but in 2004 I would expect that to be a lie); he needs to be shown that the good girl is one he should be with.

The side story regarding the two Russian emigres Josef and Madame Tanya is deftly sketched in with a few key shots of family photos, a war medal and a conversation about their past, but also fleshes out our knowledge about the three men whose generosity enables them to survive. In true stereotypical old-lady-from-Europe form, Mme. Tanya presages the airplane crash, but her warnings are ignored. She is also the most sensitive to the presence of the three spirits in the house.

The script is credited to two women, Mildred Cram and Adele Comandini. Ms. Cram was something of specialist in the extremely sentimental tearjerkers, her best known story idea being used in 1957's "An Affair To Remember." Ms. Comandini was active from the silents right up until the 1992 TV-remake of "Christmas in Connecticut," but none of her efforts seem to be as weird or fantastic as "Beyond Tomorrow."

If you decide to sit and watch this film, you will enter into an agreement with the characters that the over-the-top sentimentality and naivete is OK, we can bend some rules of logic, and that we can learn something simple: It's perfectly fine to help anyone without question, even forego your own trip to Heaven.

BEYOND TOMORROW (A. Edward Sutherland, 1940) **1/2

[Bunuel1976 · 6/10 · 3 January 2008]

Apart from "essential" Christmas movie fare like adaptations of Charles Dicken's "A Christmas Carol", Frank Capra's IT'S A WONDERFUL LIFE (1946), George Seaton's original MIRACLE ON 34TH STREET (1947) and Bob Clark's A Christmas STORY (1983), there is also an assortment of fairly obscure but equally pleasant films dealing with the Yuletide season and this review concerns one of them. Incidentally, the film has received various budget DVD incarnations over the years as a result of its public domain status but, ironically enough, the official DVD release from Fox mistreats the film threefold: most bafflingly it offers a cut version (when the budget disc I watched was complete), the film is also available in a redundant computer colorized version and, most ludicrously, retitled it as BEYOND Christmas!

Anyway, the plot is simple enough: three old, wealthy but lonely bachelors make a bet with one another that if they each throw their wallets, containing just one $10 note, out of the window into the streets, they will eventually be returned by whoever finds them. As it happens, only two of them come back and the men invite the persons in question to sit at their Christmas dinner. The bachelors are winningly played by cheery Charles Winninger, bemused C. Aubrey Smith and grumpy Harry Carey while the impoverished lucky diners are silver-voiced country hick Richard Carlson and demure nurse Jean Parker; the old gentlemen, then, are doted upon by their deposed Russian émigré housekeeper Maria Ouspenskaya. Romance soon blossoms between Carlson and Parker but, after the tragic death of the three old men in a mountaintop airplane crash, Carlson soon falls in with Helen Vinson, a man-hungry divorcée who also happens to be a radio star and soon sets Carlson on his way to become the current hit crooner of the airwaves...

Unfortunately, the second half of the film is an unconvincing, bland depiction of unexpected stardom going to one's head but BEYOND TOMORROW is ultimately redeemed by the sensitive portrayals of the four veteran character actors and the uplifting fantasy elements so prevalent during wartime, given that the three old gentlemen return from their graves as ghosts to guide the straying Carlson back to ever-loyal Parker's rightful path. Schmaltzy, yes but it was rather an unexpectedly perceptive touch to have the ghosts still preoccupied by their earthly demons – Smith re-uniting with his dead soldier son in the afterlife, Carey still being the loner tormented by "the darkness" and Winninger, of course, literally wanting more than anything else to reunite the two young lovers.

Undying Friendship

[Ron Oliver · 10/10 · 14 February 2006]

Even after passing BEYOND TOMORROW, three old gentlemen continue to guard their two young friends.

Unfortunately rather obscure, this charming little film, bursting with the joy of life, brings a whimsicality as unexpected as finding a ten dollar bill on a snowy sidewalk.

Texas rodeo cowboy Richard Carlson and children's clinic worker Jean Parker are the two lonely people brought together on a cold New York City Christmas Eve by their new benefactors. They make a perfect couple, young & eager to embrace love - and each other - with open arms. Their enthusiasm at finding relief from their loneliness is genuine and imparts a special glow to the viewer.

The generous trio, who look after their new companions like benevolent uncles, are the very heart of the film. Cheery Irishman Charles Winninger, stalwart English major Sir C. Aubrey Smith, and melancholy Oklahoman Harry Carey, although dealing with their own secret sorrows, share their largess with complete strangers (whom they meet by a most curious stratagem) in order to share the Christmas Spirit. Elderly Maria Ouspenskaya gives a sweetly poignant performance as their beloved housekeeper; this tiny, wizened actress positively radiates joy as she steals her every scene.

Helen Vinson, as a singing temptress trying to corrupt Carlson, is the serpent in this garden. Silent Screen star Rod La Rocque, in one of his final films, gives support as Vinson's theatrical manager.

This would make wonderful Holiday viewing. In fact, one of the most delightful scenes in the film features a spirited singing of Jingle Bells in English, Russian, German & Italian.

Hereafter Christmas

[wes-connors · 6/10 · 13 January 2013]

On Christmas Eve, three wealthy old New York City gentlemen decide to test the spirit of the holiday. Each throws his wallet from a window, containing $10 and a business card. Surprisingly nor not, two wallets are picked up by generous souls. One woman assumes the owner wouldn't miss $10, and gives the money away. The other two wallets are returned, in person. Our first responder is handsome Richard Carlson (as James "Jimmy" Houston), an aspiring singer from Texas. Next is pretty Jean Parker (as Jean Lawrence), a single woman from New Hampshire. They are invited to dinner and, well...

Not surprisingly, Mr. Carlson and Ms. Parker fall in love. But you may not guess what else is going to happen. "Beyond Tomorrow" is full of surprises. The old pros helping the young couple are sentimental Charles Winninger (as Michael "Mike" O'Brien), sensible C. Aubrey Smith (as Alan Chadwick) and cynical Harry Carey (as George Melton). Loyal Russian housekeeper Maria Ouspenskaya (as Madame Tanya) joins Mr. Winninger in helping save Carlson from seductive Helen Vinson (as Arlene Terry), who picked up the other wallet. It's all densely plotted, overly sentimental, well produced and nicely cast.

******* Beyond Tomorrow (5/10/40) A. Edward Sutherland ~ Richard Carlson, Jean Parker, Charles Winninger, Maria Ouspenskaya

Sentimental tale needed a bigger budget and a better script...

[Doylenf · 5/10 · 25 November 2010]

The low rating is due largely to the bad print that I watched on TCM, choppy and dark enough to qualify as film noir.

But it's easy to see why this one has slipped through the cracks over the years. It's a little too simplistic, too sentimental and has a rather silly story to tell that could only have been made in the '40s when the world was on the verge of falling in love with IT'S A WONDERFUL LIFE.

Three wise old fools become the guardians (from beyond) of two people they helped meet and fall in love. Not bad for the outline of a story, but the way it's fleshed out here is less than convincing from start to finish.

At least the performers aren't to blame for the bland script. CHARLES WINNINGER does nicely as the man who thinks up the idea of tossing his wallet and business card into the snow to see if anyone will return it (on Christmas Eve of course) and thereby be invited to spend time in the luxurious suite he shares with SIR C. AUBREY SMITH and HARRY CAREY, SR. Two lonely people do return the wallet--JEAN PARKER and RICHARD CARLSON--and stay for dinner and immediately fall in love.

To tell any more would be to give away what little remains of the plot, but let's just say it struggles to be "warm and cozy" while at the same time falling apart once the kindly gentlemen disappear into the beyond.

The story gets a brief lift from the presence of MARIA OUSPENSKAYA as a wistful housekeeper who senses the presence of the ill-fated men who want to act as guardians from beyond.

A viewer should be aware that staying awake for this one may be a problem. A better print may have made the whole thing more bearable.

Pleasantly eschewing the logical in favor of the sentimental.

[rsoonsa · 9/10 · 14 December 2001]

In this elaborately scripted fantasy, when three aging businessmen are unexpectedly left without guests on Christmas Eve, each tosses a wallet including a ten dollar bill from a window in hopes that someone honest will return one, and be asked to dinner, to make their holiday less lonely. Two of the three billfolds are returned, by a young man (Richard Carlson) and a young woman (Jean Parker) whose lives are acutely changed as they are welcomed not only to the table of the three gentlemen but also into their hearts and those of their two retainers (Maria Ouspenskaya and Alex Melesh). The young pair quite appropriately fall in love, only to have their beatitude marred when their sage benefactors die in a plane crash, but when the three promptly return to their town manse as apparitions, a bittersweet tale unfolds when Jimmy, the young man, falls prey to a siren (Helen Vinson) and the trio (C. Aubrey Smith, Charles Winninger, Harry Carey) in their belief that they will not be received in Heaven until they assist the lad in untangling himself from the vixen, set out to do so. After two of the spirits wend their way to Elysium, the last (Winninger) decides to remain within the shadow of Earth, swooping about while attempting to assist his young former charges with their romantic travails. All boils down to an eminently satisfactory ending, with fine work by those involved, including splendid editing by Otto Ludwig and top-drawer art direction by Stephen Goosson, while cast member Ouspenskaya, as a noble émigré from Russia, is especially effective in this amiable film.

A holiday film with dark edges

[jjnxn-1 · 7/10 · 16 May 2013]

Charming if odd fantasy quasi holiday film. For something supposedly designed to be heartwarming there are an awful lot of dark edges to this film. What it does have going for it is three terrific actors, C. Aubrey Smith, Harry Carey and Charles Winninger front and center in the sort of spotlight roles that character actors were afforded back then in B movies of this type. The general story is hokum but played with an infectious twinkle in the eye by the three gentlemen and earnestness by the two young leads. Keep in mine while watching this is a low budget affair because any special effects used are rudimentary at best but it still takes you along thanks to the skillful performances of the players.

A Middling Melodrama

[gavin6942 · 5/10 · 9 December 2016]

The ghosts of three elderly industrialists killed in an airplane crash return to Earth to help reunite a young couple whom they initially brought together.

Structured as a B film, the production did not engage any stars who would receive billing above the title, relying instead on a quartet of veteran characters actors, Charles Winninger, Maria Ouspenskaya, C. Aubrey Smith and Harry Carey, second-tier young leads Richard Carlson and Jean Parker as well as "other woman" Helen Vinson, a minor lead/second lead during early and mid thirties, here approaching the end of her career. All seven actors received a "Featuring" billing after the title. The remaining supporting cast included Rod La Rocque, a top leading man of the silent era, now reduced to playing minor supporting roles.

In retrospect, the movie is interesting for its cast, but never really rises above a B-movie. It is a bit too melodramatic, and doesn't stand out as a great film in its own right and not a great Christmas film. I have read that some people have made this a Christmas tradition, but I just can't imagine doing this. With the dozens of great Christmas movies, I wouldn't put this in the top 50.

Colorized and cut up

[BijouBob8mm · 15 November 2004]

Fox Home Entertainment has once again attempted to improve upon a classic. Last year it was THE GREAT RUPERT, which the studio decided to colorize and release under the title THE Christmas WISH. (Fortunately, the B&W original--with the new title, alas--was included as a bonus.) Now, BEYOND TOMORROW gets similar treatment. However, in addition to colorizing and retitling the film (BEYOND Christmas), the company has also chopped out about 5 minutes of material from the movie. (Made even more obvious by the fact that the footage shows up on TV and on all previous VHS & DVD versions, including the bargain bin copies.) Granted, they include the material in the Extras as "deleted footage," but that only begs the question, "What was the point of deleting it at this time, to begin with?" Some of the deletions, such as the sequence where Arlene Terry's ex-boyfriend clashes with her new leading man, destroy the emotional impact of the showdown between the two men and Arlene during the film's finale. To first-time viewers unfamiliar with the film, the jilted lover's appearance at the end comes almost out of the blue, causing confusion as to who he is. In spite of these alterations/deletions, the box proudly announces the film is fully restored. Sorry, Fox, but the term "restoration" does NOT mean alteration or condensation. (For those wanting to see the complete film as it was meant to be seen, check out the VCI DVD.) And with the various advances in such technology, it is amazing to see how artificial the colorization still looks, at least on this film. (To this day, perhaps the most realistic colorization remains the process used on select episodes of Walt Disney's ZORRO TV series from the 1950s. If colorization is a process that has to still be practiced, then it needs to be perfected. There is no excuse for the color quality on this, especially considering how long ago it was that Disney colorized ZORRO and some of the early Mickey Mouse shorts, to convincing effect.) On a more positive note, however, the Fox release does include some vintage theatrical Christmas shorts, such as Bob Hope and Bette Davis pitching Christmas Seals.

like the first half

[SnoopyStyle · 6/10 · 22 December 2020]

New York industrialists George Melton (Harry Carey), Allan Chadwick (C. Aubrey Smith), and Michael O'Brien (Charles Winninger) live in a mansion with Russian exile countess Madame Tanya (Maria Ouspenskaya). Their Christmas dinner guest cancel at the last minute. Michael has an interesting idea to find worthy dinner companions. They get Texas cowboy James Houston (Richard Carlson) and teacher Jean Lawrence (Jean Parker).

It's an intriguing first half. I love the $10s. The story takes A Christmas Carol turn and it struggles to make it compelling. It's not quite good enough but I still really like the first half.

"What the Dickens is this?"

[mark.waltz · 7/10 · 21 December 2019]

Sometimes you have to go through the darkness to see the light. That's the lesson that Harry Carey who makes the Dickens comment must learn playing one of three elderly friends who face their mortality and are stuck on Earth for a time to learn lessons that they need to process in order to move on. The other two are Charles Winninger and C. Aubrey Smith, living there later years alongside old friend Maria Ouspenskaya and playing guiding lights to the young Jean Parker and Richard Carlson who finds fame far too early as a professional singer. He is distracted by Helen Vinson, a woman of no scruples who steals Carlson from Parker yet has her own issues concerning old lover William Bakewell.

While this really is not a Christmas movie, the spiritual themes are quite appropriate for the holiday season. This has only a dollop of humor but is so beautifully sentimental in its expression of elderly friendships and their devotion to young friends that it grasps your heart and refuses to let go, as long as you are willing to open your heart to its message. Carey's character is probably the darkest of them all, but he does have a few opportunities to let loose.

One of the major humorous scenes has the five people volunteering in an orphan's home with Ouspenskaya telling stories and making funny faces while the three older men prance around with the young people as if they have found their second childhood. But all of a sudden, it becomes tragic as during a snowstorm, Parker and Carlson are having a romantic moment in the park, unaware that the newspaper that they turn down had the headline of the three friends reported as missing.

Each of the men, remaining on Earth as ghostly figures, must face their Destiny in different ways with Carrie being summoned to his own dark place by crashes of thunder and lightning, and Smith being taken to a heavenly place by his own deceased son. Winninger remains on his own, and a tragedy strikes that has him being called at the same time while trying to wrap up everything for his loved ones who he is leaving behind. The performances of All of the stars in this film are excellent, and if you can get past the extreme sentimentality and your own cynicism, you will find this a beautiful fantasy.

Life is worth dying for

[sol1218 · 7/10 · 16 November 2008]

***SPOILERS*** Sentimental little Christmas movie involving three life long friends who in trying to pep up their somewhat lonely Christmas Eve get together in roping in two young strangers who make their holiday season a lot better and far more rewarding. So much better that they just refuse to go back to their maker, and heaven, after they ended up dying in a tragic plane crash.

The three old guys Irish Michael O'Brien, Charles Winninger, British Allan "Chad" Chadwick, A.Aubrey Smith, and American businessman George Melton, Harry Carey,end up bonding with their unexpected Christmas guests Texas cowboy James Huston,Richard Carlson, and children clinic volunteer Jean Lawrence, Jean Parker, who end up becoming their lifelong,and even beyond life, friends.

Becoming almost inseparable both James and Jean drift apart when their three old benefactors, with Michael leaving James a cache of money to continue his fledging singing career, unexpectedly perish in a plane crash. Being stung by success, as the new American Idol, James gets hooked up with Broadway singing sensation Arlene Terry,Helen Vinson, who's just nuts about the handsome but shy Texas cowboy. This has Michael, who's stuck in the world between life and death, try to somehow show the love sick James what a mistake he made in tossing his one and only true love, on earth and beyond, Jean away for the manipulated and scheming Arlene. Both Chad and George also hang out in what seems to be the Astral World, an existence between life and death,for a short time until they finally get their bearings straight and ascend to heaver. Chad ends up going to heaven with his dead son David, William Bakewell, who was killed in the Great War or WWI. The cranky and penny pinching George finally found out, after his death, that money isn't everything if your in a place, the world in between life and death, where its not worth the paper that it's printed on and also sees the light, heaven, by the time the film is over.

Only Michael gets involved with the world of the living in his attempt to save James from a fate worse then death in both losing Jean as well as his life by getting himself involved with Arlene. James in fact does see the light after he's shot and killed by Arlene's drunk and jealous ex-husband-Mr. Terry I presume-and is given a second chance to return back to earth, and life, to reunite with the girl that he left behind Jean.

Nothing really new here even though the movie predates the far more popular and very similar Frank Capra Christmas Classic "It's a Wonderful Life" by some six years. The film "Beyond Tomorrow" nevertheless still packs quite a wallop in movies about life after death and what it's, our very meager existence, really all about in the grand scheme of things.

There's also in the film the two Czarist Russian survivors of the Commnist Revolution Madame Tanya, Maria Ouspenskay, who's the only one in the movie who can see or sense the three dead plane crash victims and her stuffy and stoned faced butler Josef, Alex Melesh. It's Josef who at times when his face was frozen stiff looked like the newest member, even though he never was a US President, of Mount Rushmore.

Great opening scenes, great cast, great photography, but...

[JohnHowardReid · 6/10 · 11 May 2015]

A very instructive film. It's no good, mind you, but it's certainly fascinating. In fact, so fascinating, it's hard to decide where to begin. So let's start with the photography. This is credited to little-known Lester White, who was one of Louis B. Mayer's favorite cameramen because he could both shoot fast and shoot artistically at the same time. White worked on most of Metro-Goldwyn-Mayer's Andy Hardy series, but he was also an expert on film noir – and this particular film certainly shows off his expertise in that domain. The movie was produced by none other than Lee Garmes, himself an expert cameraman who specialized in – you guessed it! – film noir! So this movie is nothing if not superbly photographed. Unfortunately, it's one of those movies that start off on a high note, but gradually lose the plot. The opening scenes are great. The characters are deftly introduced and the plot, although it seems pretty traditional, has room to expand – and this it does until about halfway through when it suddenly loses direction and seems at a loss what to do with the characters so artfully introduced in the opening scenes. So all it does is mark time until our 84 minutes are up and we can all go home. A pity! And a wonderful assemblage of players wasted too – including Harry Carey, C. Aubrey Smith (very unflatteringly photographed), Charles Winninger and Helen Vinson! Available on a very good Alpha DVD.

Sweet, sentimental

[preppy-3 · 8/10 · 28 November 2004]

Wonderful Christmastime fantasy about three old men getting young, handsome, hunky Richard Carlson to fall in love with sweet, young, beautiful Jean Parker. There's a lot more to it but I don't want to ruin it.

This is VERY low-budget and the story is overly sentimental and more than a little silly--but I have a soft spot in my heart for it. When I was young a local TV station showed this film around Christmastime for years. I haven't seen it for almost 30 years but caught it on TCM. And i STILL love it!

Something about it has always captivated me. The whole movie was somewhat predictable but I kept watching enthralled. The acting was excellent by everybody (Carlson especially--and his singing is GREAT) and the story didn't get too goody-goody or syrupy. And it all ends on a very happy note. And damned if that ending didn't have me crying.

A wonderful Christmas movie--right up there with "A Christmas Story" and "It's a Wonderful Life". This film should really be rediscovered. Well worth seeing.

Unfortunately the print on TCM is in terrible condition. It's faded and jumpy but not unwatchable. Still worth seeing. I heard there's a COLORIZED print of this! Avoid that at all costs.

Three Eccentric Old Hermits

[richardchatten · 6/10 · 25 December 2019]

Anybody who's read the spoiler in the IMDb's own plot synopsis of this film will already have been made aware at the outset of the twist that really only takes place about a third of the way into this piece of Capraesque Christmas whimsy when it abruptly turns into something much stranger, much darker and much more fanciful; although actually in a long tradition stretching back to the beginning of the silent era.

Worth seeing for Charles Winninger & Maria O.

[jpaulteel · 5/10 · 23 July 2005]

Pleasant tale with strange theology. If you suspend logic and just accept the odd spiritual aspects of the storyline you will enjoy this film. Charles Winninger and Maria O. invest themselves completely and are worth watching. Richard Carlson is appealing and believable as a country boy in the big city - well done. Not sure who did the singing for him but would like to know if anyone else does. As a Christian I found the Hollywood theology rather strange but not surprisingly so. Senimentality is not what I think of. Just can the whole thing. It's more work than it's worth. I wish I could just back out of this whole review but they demand 10 lines. Enjoy!

Sentimental, hokey, corny - and entirely charming

[bronty · 8/10 · 25 December 2004]

"Beyond Tomorrow" is most definitely a child of its time: as one user has already commented, most definitely because of its theme it would be a lovely combo with "The Wizard Of Oz", released the year before, though it hasn't a tenth of the budget of the latter and isn't at all a musical (despite 2 or 3 songs performed). I believe a comment was made regarding its almost film noir look and that's spot-on, though, of course, the idea isn't to display shadows for the sake of creating drama as much as it is for helping to hide a small budget. I've no idea if this was a popular film in its day (I've the feeling it may not have been, due perhaps to that aforementioned budget) but one can easily imagine it deeply affecting a nation torn by war and loss of loved ones, with its images of Christmas, selfless love, death, rebirth, and those who've died being called to heaven. The tale, as already told by some, is about three moneyed gentlemen in New York City who decide, on a whim, to test how true of heart their fellow denizens are by impetuously tossing their wallets out onto the sidewalk, then waiting to see who brings them back. One fails to be returned, picked up as it is by a slick, round-heeled woman, a radio performer, who takes the money inside and tosses the wallet over her shoulder with nary a second thought; the other two are quickly brought back fully intact to their owners by a tall, handsome crooner, Jimmy, and a quiet young woman, Jean, respectively. Upon seeing one another, it's love at first sight, a fact that doesn't go unnoticed by the three older men and their devoted maid and butler, refugees from Europe. Soon, they decide to do what they can to encourage this romance between these two good souls, who are quickly engaged. Then, despite a warning from their maid, they take a plane for business purposes...which crashes. The young couple and the two devoted servants are devastated, but three old men return as ghosts (despite limited funds, the special effects are entirely successful), not realizing at first that they've died, though the maid senses their presence (the only one who does, as a matter of fact). They soon decide to continue doing what they can to help guide the young lovers (who cannot hear or see them but who react to their suggestions, similar in style to the gimmicks in "A Guy Named Joe" and its remake, "Always") but Jimmy is soon 'discovered' by the scheming woman who had found the first wallet (and taken its contents) and falls under her spell, deserting his bride-to-be. Alas, in the midst of helping their two protégés, one by one the old men are 'called'; the first, a lifelong cynic, to a dark, dark place; the other, to heaven, when his long-dead son comes to take him home. The third, Mike, however, refuses to go until he can fully restore the union of the couple whom he knows should be together. No sooner does this occur when the radio performer's ex-husband follows his former wife and the Jimmy to a lounge, where he shoots and kills them both. Soon, Jimmy joins Mike as a ghost, distraught at both the pain he's caused Jean by leaving her and by dying so suddenly, but Mike offers a word of wisdom and almost instantly he is called home again; this time he doesn't refuse - he only asks that Jimmy be returned to the land of the living, a request that is granted, and as the film closes, Mike is joined by the friend who had originally gone to a very dark place and together they climb, literally, the stairway to heaven. Corny? Oh, yes. Hokey? Sure. Sentimental as all get-out. But the film is unbelievably charming and so openly wears its pure, little heart on its sleeve, that you can't help but be carried away by it. At fade-out, I couldn't help but imagine how the last few minutes (those images of death and rebirth and the belief that the dead might be safe and at peace) must have touched audiences living through that time of war, especially at Christmastime, when the absence and loss of fathers, husbands, sons, and lovers had to have been more painful than it already was. As the trio of helpful old men, harry Carey, C. Aubrey Smith, and especially Charles Winninger (as Mike), are exactly the kind of men you'd love to have as either a grandfather or mentor: warm, loving, wealthy (in all manners of speaking), and as kind as can be. As the young couple they look out for, Richard Carlson and Jean Parker are sweetness and light personified; sure, they may be somewhat TOO good but you just can't help but root for them. (And was New York City EVER this populated by such honest, good-hearted people?) I found my DVD copy, believe it or not, in a dollar store; apparently, a number of older films and TV shows of varying quality are being processed to DVD especially for dollar stores, so, as you can imagine, picture & sound quality - though surprisingly OK - are average, and with neither chapter stops or extras. Still, in whatever form you can find this lovely little fantasy-romance, please take advantage of it. You'll be rewarded with a film that just might become a perennial Christmas favorite for the entire family.

This film suffers from a bizarre plot and too many twists

[planktonrules · 6/10 · 22 December 2008]

The first 30 minutes of this film are magical. It's hard to find a Christmas movie that is more charming and appealing. But in a case I can only chalk up to severe blows to the head, the film does a 180 and the plot then twists and turns too many times--leaving viewers a bit confused and disappointed that the first portion of the film was NOT indicative of where the film would go.

The film begins with three excellent character actors (Charles Winninger, C. Aubry Smith and Harry Carey, Sr.) apparently living together in New York. It's Christmas Eve and when Winninger arrives home, he insists that the other two put away their business and get down to celebrating. But, given that it's only them and their two devoted servants, it seemed a bit lonely to Winninger and he suggests they try a novel approach to procuring more guests. So, the three rich men throw wallets onto the sidewalk in the hope that honest people return them--at which point they can invite them to stay for dinner! This is all pretty cute and funny--especially when a young man and lady return the wallets. The two newcomers soon become friends with them and this is an entirely charming film up to this point.

HOWEVER, in a bizarre twist, the three old men are killed off and become ghosts AND the young man and woman develop a romance...but it's almost ruined by an evil femme fatale. All these crazy plot devices just seem weird and contrived. Plus, you really love the old guys and seeing them fly off to their deaths was just awful--plus it was telegraphed horribly when their housekeeper (Maria Ouspenskaya) tells them they shouldn't take the plane but should go by train (a SURE sign they are dead meat). The last half or more of the movie isn't all that satisfying as a result of all this weirdness and the religious message concerning death and eternal life is sure to rattle a few cages! While I rarely like remakes, this is one film that could sure use it. Keep the first half and DON'T kill the old guys and DON'T introduce the femme fatale. Then, the film would truly be a lovely holiday favorite.

Sap!!!

[zardoz-13 · 5/10 · 19 December 2014]

Director A. Edward Sutherland's "Beyond Tomorrow" is a fantasy romance melodrama with a Christmas setting. This heavy-handed pabulum about second chances and voices from Heaven that can be influenced by grieving mothers is for folks who crave happy endings. Predictable, dull, and tear-stained with sketchy characters and contrived situations, this modest movie probably appealed to misty-eyed romantics during its initial release.

Three eccentric business partners in their sixties who are idle widowers decide on a whim to enliven their lives with a bit of Christmas cheer. They slip $10 into separate wallets with their business cards and throw them out of their window of their New York City mansion into the street. The idea is that nobody is a stranger on Christmas Eve. The cynical member of the trio, George Melton (Harry Carey of "Angel and the Badman"), argues that nobody will return their wallets. The optimistic one, Michael O'Brien (Charles Winninger of "Destry Rides Again"), contends that someone will bring back the wallets. O'Brien challenges Melton to a wager with the loser buying dinner at their club if any of the wallets are returned. Meantime, the last member of the threesome, Allan Chadwick (C. Aubrey Smith of "Trader Horn"), watches his two companions with genuine amusement while he puffs on his pipe. They fling their wallets into the snow-swept evening on the sidewalk. One recipient gives her $10 to a chauffeur, while the remaining two show-up to return the loot. The first one is a woebegone Texan in a Stetson, James Houston (Richard Carlson of "The Howards of Virginia"), whose western drawl is as thick as his boots are threadbare, but he can warble his heart out given the chance. The second is a young lady, Jean Lawrence (Jean Parker of "Zenobia"), and she grills Chadwick about the contents of the wallet. You see, poor old Chadwick suffers from terrible vision, but O'Brien helps him out. These three old gents and the young couple are joined for supper by an expatriate Russian aristocratic dame, Madam Tanya (Maria Ouspenskaya of "The Wolf Man"), who is happy that she is no longer oppressed by her once abundant wealth. They have a blast, and later the trio of entrepreneurs catches a plane to attend to their business affairs. Madam Tanya senses that they won't get off the plane, and they don't, dying in a mountain crash. They show up at their old haunt, but now they are really haunting it as ghosts. None of them experiences any former pains and they can see through each other. The last to hear about their tragic disaster are the happy, carefree, young couple.

Miraculously, Madam Tanya knows what she must do. She takes the young couple into the library and presents with an envelope containing bonds that the trio entrusted to them. While this is transpiring, a newspaperman interviews the couple about the three engineers and the story falls into the hands of a radio station whose manager invites the duo to their studios. Jean wants Jimmy to go to the interview because she is certain that his singing will land them in the big time. Madam Tanya asks them to stick around in the mansion so that the butler and she will have someone to take care of since the trio has died. Jimmy auditions at WRC Radio and they schedule him to sing that evening. While he is at WRC, he runs into a celebrity singer Arlene Terry (Helen Vinson of "Broadway Bill") who is a little older than he is. Naturally, impressionable Jimmy is impressed with the lady. Not only does she like what she sees when they meet but she also urges him to phone her when he sings on the air. Terry and her producer Phil Hubert (Rod La Rocque of "The Shadow Strikes") both approve of his warbling, and they sign him up to join their show. Jimmy reaps so much success that he no longer makes time to spend with Jean, and their romance grows languishes as they grow apart from each other.

Melton moves on into thunder and lightning, and later Chadwick joins his son David (William Bakewell) in their dream of dreams India. This leaves the unhappy O'Brien behind. O'Brien is sad now because Jimmy has taken up with Terry and forgotten about Jean. Another vocalist, Jace Taylor (James Bush of "Hangmen Also Die!"), who once shared the spotlight with Terry before he turned into a drunken, struggles to patch up their relationship, but Terry wants nothing to do with him. Instead, she wants to spend some time relaxing with Jimmy. O'Brien's ghost tries to get Jimmy to reunite with Jean, but the grasping Terry sidetracks Jimmy and he drives off with her in a convertible into the country. O'Brien catches a ride in the backseat and then he notices headlights following them and whisks off to the other car. He discovers that Jace is steering the other car and has a revolver with him. While Jace has the attendant fuel up his jalopy at the gas station, he goes for a drink. Jimmy and Terry are dining in a restaurant when they are recognized by the band leader. About that time, Jace staggers in, brandishes his revolver, and shoots them both. Terry dies immediately while Jimmy makes it to the operating table at the hospital. Heaven shines down on O'Brien and summons him for the last time. O'Brien cannot stand the thought of leaving Jimmy behind until the young man joins him. Heaven comes back for O'Brien because his long-suffering mom intervened on his behalf. O'Brien entreats Heaven to give Jimmy another chance. Jean hears the good news that Jimmy survived surgery. O'Brien is further gladdened by the appearance of Melton who has repented and joins his old friend as they march toward the celestial lights.

"Beyond Tomorrow" would like us to believe that Jimmy and Jean got the chance to share their dreams.