Review: ‘Tomorrow the World’

Reformation of Nazi youth, a problem forcefully projected in Tomorrow the World on Broadway [in the play by James Gow and Arnaud D'Usseau], is dealt with no less assiduously in Lester Cowan's screen presentation of the same story.

Reformation of Nazi youth, a problem forcefully projected in Tomorrow the World on Broadway [in the play by James Gow and Arnaud D’Usseau], is dealt with no less assiduously in Lester Cowan’s screen presentation of the same story.

It’s a vivid story of a youngster brought to America from Germany into the home of a college professor whose philosophies have been governed by those of the boy’s father, a well-known liberal killed by the Nazis because of his views.

The boy has been geared in the Nazi way, taught that his father had been a traitor to the Third Reich. Repudiation of the American concept and an attempt to inculcate Nazi fears into the minds of his American schoolfellows almost succeed. He would also break up the impending marriage between the professor and his Jewish fiancee, and this, too, is almost realized.

Fredric March and Betty Field both give dignity to the parts of the professor and his bride-to-be. But the main accolade must go to Skippy Homeier, as the young Nazi.

Tomorrow the World

Production

United Artists. Director Leslie Fenton; Producer Lester Cowan; Screenplay Ring Lardner Jr, Leopold Atlas; Camera Henry Sharp; Editor Anne Bauchens; Music Louis Applebaum; Art Director James Sullivan

Crew

(B&W) Extract of a review from 1944. Running time: 96 MIN.

With

Fredric March Betty Field Agnes Moorehead Skip Homeier Joan Carroll Boots Brown
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