Lightdeossk Captivating movie !

Comwayon A Disappointing Continuation

Numerootno A story that's too fascinating to pass by...

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

secondtake Till the End of Time (1946) You can't avoid comparing this to the astonishing, large William Wyler approach to this same topic in "The Best Years of Our Lives"-soldiers returning to their loved ones at the end of WWII. Edward Dmytryk is a good director, and he has Robert Mitchum and Dorothy McGuire at his aid, and so this holds up pretty well. (And it was released a few months before its more famous parallel.) The third lead-the main one it turns out-is Guy Madison, who is a pretty boy and not bad, but he brings a more cardboard feeling to his scenes. But that isn't the end of the story. When Mitchum finally shows up (it feels like nearly halfway through) the energy changes. And McGuire, who has held up the movie beautifully (she's a terrific presence), intersects with real drama. It's the heart of the story, it turns out, so keep with it and get there. Dmytryk has a string of interesting films during this period, including "Murder My Sweet" and "Farewell, My Lovely." The idea of film noir depends on the trouble soldiers had returning to civilian life in the U.S. and "Till the End of Time" approaches this idea from a purely dramatic point of view (despite the presence of noir staple Mitchum). It's worth seeing if any of these themes interest you, though as a drama with structure and impact it lacks any particular punch or original insight. I have to say I watched the Wyler film right after this one, and it's so superior to this one (not just technically, but in acting and script), it's hard to advocate for this one. Unless, again, the theme is of interest already.

Ron Hinton Released in 1946, the same year as "The Best Years Of Our Lives" this film tackles the issues that veterans and their families face. Robert Mitchum fans will melt. Guy Madison and Dorothy McQuire give deep performances. This film takes a long cold stare at the sense of loss on the Home Front and in the souls of men and women of the time. The theme is of an overwhelming feeling that is Shock; of lost love, lost lives and lost opportunities. This is a film about Recovery and merely coping with what War does to us all. We see civilians trying to help these veterans re-orient to normal, dull, daily life, which the despise. A real character study of Americans as they rebuild their damaged lives.Ron

dbdumonteil The very same year as William Wyler ,Dmytryk gives his own version of 'the best years of our lives': there are similarities between the two works:both feature a disabled man ,although in Wyler's film ,Omer was a true handicapped man;both feature a fighting (remember Dana Andrews who is told he should have made war against the Reds).That said "till the end of time" is not in the same league:Guy Madison is handsome but a limited actor and he gets much more time on screen than the superior Robert Mitchum.There are good scenes now and then : -The soldier,living in anguish,suddenly starting trembling violently and the way Dorothy McGuire comforts him by telling him about her first ball.-The same woman ,revealing her husband was killed in action.-The hero meeting his parents in the night and realizing he does not understand them anymore and the opposite is true.In the field of "after- the- war- time",however,Dmytryk was more inspired in his film noir "cross-fire".

dougdoepke No need to repeat the plot. That scene where Pat (McGuire) and Cliff (Madison) encounter the shell-shocked outpatient is genuinely disturbing. For a screenplay, that's a tough problem to treat in a single set-up. Pat's little anecdotal lesson works pretty well-- the soldier is relieved of his demons for the moment. But for how long, I wonder. And what will become of him, sitting alone, quaking, and afraid to go home. And how many others will come home like him. The script says the inner wounds will wear off eventually, but then it had to say something like that, otherwise the movie's hopeful tone would be compromised. And that would be counter to what the country needs following four years of horror. It' a decent, earnest movie, produced by the studio's (RKO) head honcho Dore Schary, so it's a prestige production. Looks like they took a gamble on an unknown Guy Madison in the lead role. He certainly looks the part—I can just about hear the echoing squeals of bobby- soxers even 60 years later. He does bring an earnestness that's refreshing, even if his range is pretty limited as the heavier scenes show. Newcomers Mitchum and the underrated Bill Williams also register, along with the dewy-eyed Dorothy McGuire before she became a favorite movie mom. But I especially like Jean Porter's vivacious teenager. It's really her Helen who projects the buoyant spirit of the coming consumer age.There were, of course, a number of these "adjustment" films as the country struggled with a return to normalcy. Where this movie excels is with the uncertainty of a recovering civilian world. Each main character is drifting as a result of the war. Each has been changed and must now work out how to fit back in. Then too, I like the rather ambivalent way the movie ends, avoiding easy solutions. There's one other sequence worth noting. The barroom brawl is both over-done and clumsily staged. Nonetheless, it makes an important point. Namely, that the war has changed society as well as individuals. A post-war America will be more inclusive than the traditional America. The logic appears to be that since it took everyone to win the war, no one should be excluded from the fruits. Given the civil rights movement soon to emerge, the movie thus proves prophetic. Too bad this worthy movie effort now seems so obscure. Despite the years, it remains an affecting look at a key period in American life and merits catching up with.(In passing—that's filmmaker Blake Edwards of Pink Panther fame as the shop foreman that Cliff tangles with, soon to become a screenwriter, and then an A-picture producer-director.)