'Tomorrow is Forever' (1946) – Irving Pichel. 

Full-bodied, heart-wrenching melodramatic excellence with Orson Welles, Claudette Colbert, George Brent, and a very young Natalie Wood who all shine in the profoundly moving, beautifully written melodrama from the 40s. After Elizabeth Hamilton (Claudette Colbert) receives the dreadful, shocking news that her beloved husband John Andrew MacDonald (Orson Welles) has died in the war she is offered succour by family friend Lawrence (George Brent), their bond develops into a happy marriage replete with two bonny sons, older adopted son Drew (Richard Long) and younger sibling Brian (Sonny Howe). 20 years pass without incident until the arrival of crippled Austrian chemist Erik Kessler (Orson Welles) and his adopted daughter Margaret (Natalie Wood) who soon finds finds it increasingly difficult to ignore the conflicting interior tumult brought on by seeing his beautiful wife and son after so many years absence, and Erik/John's intense emotional schism engenders an edifying wealth of emotionally rich drama, not just a wonderfully nostalgic experience, but deliciously vibrant, soul-stirring cinema, certainly no less so than the implausibly luminous Claudette Colbert's beguilingly expressive eyes, while occasionally a little staid for my tastes, the exquisitely made, frequently soulful tale of a love stronger than death is a richly satisfying, multi-layered monochrome treat, like guiltlessly feasting upon a gooey black forest gateaux, this earnestly performed, dramatically substantial, Hollywood glossy, emotionally 'chewy' confection is a sublime feast for the senses, making for grand, evocative, blockbuster entertainment from cinema's golden age, and there's one especially moving paternal exchange between a tearfully distressed Natalie Wood and Orson Welles which proved deeply affecting, with the lush score by Maestro Max Steiner being a sheer delight!