*** Melodrama

The most significant thing about Tomorrow the World is that it is "based on" the Broadway play of the same name; significant because the play is an intense, well-written anti-fascist document, whereas the film has been made into an interesting story about an anti-social kid and the way he Is humanised by kind treatment. I do not think that the producers realised" what they were dealing with. There is no tense feeling that both audience and actors are discussing an urgent and vital problem; I do not believe the audience leaves the theatre wondering what's to be done; rather there is the view that Email was a little devil, but you knew he'd be all right in the long run. I am really unable to see what suggestion for the solution of this problem is made by this film. Any reclaiming of the fascist soul is done here by personal contact, and takes a long time, exhausting several people en route. How can the personal touch be applied to the German nation? No, I don't think Hollywood was particularly interested in a "What to do with Germany" thesis; they realised that here was a box-office draw—all the makings of a lovely drama. If you don't agree with what I've said so far, what about the advertising? I failed to find much emphasis on the problem; the ads. were chiefly based on the use by Emil of "the most insulting term known to woman." (After-listening carefully. I am able to reveal that this term is evidently "Jewish whore," although nobody, of course, dares to say It right out loud. Nearest approach is ". . . you Jewish . . (dramatic pause) . . . tramp!"

The acting of Skippy Homeier is quite remarkable; his performance is intelligent and brilliant. His best scenes are those of his passionate speech in the classroom and his skilful driving of a wedge, in the best Nazi manner, between his guardian's fiancee and sister. Betty Field is good as ever, but her part is rather colourless.

The film is worth seeing. It has a number of moments which will provoke some thought, and several times displays in little the fascist method of divide and conquer. But it is not big enough. It should have been powerful and telling and compelling. Instead it is rather good, rather unreal drama.