The story mirrors experiences in numerous families during the initial years of World War I; John embraces his wife, Elizabeth, portrayed by Claudette Colbert, before departing for battle and never returning. Twenty years later, she has rebuilt her life with their son, Drew, played by Richard Long, a new husband, Lawrence, brought to life by George Brent, and now confronts the unsettling possibility of her son wanting to enlist in World War II. The narrative grows increasingly strange when her spouse welcomes a celebrated scientist into their home, triggering a faint sense of recognition within her. He—Erik, portrayed by Orson Welles—immediately identifies her, and as the truth gradually emerges about the relationships between the characters, the drama develops at a measured pace with an appealing connection on screen between Colbert and Welles, alongside Colbert and the unfortunately underdeveloped but capable Brent. The makeup artists may have been overly enthusiastic with Welles’ appearance, however, the central theme of enduring love, misfortune, and sorrow is effectively conveyed by this talented ensemble cast under Irving Pichel's skillful direction. Regrettably, the film suffers from excessive musical scoring; there are too many choral arrangements toward the conclusion, yet the characters feel genuine, and while melodrama threatens to surface at points, it’s largely restrained. Natalie Wood’s early role is mainly significant due to her future career, but Lucile Watson delivers a worthwhile performance as the grounding Aunt Jessica. The ending, though expectedly melancholy, feels strangely appropriate, possessing a characteristic sense of optimism following the war and acknowledging the anxieties many families faced with the impending conflict and the potential for devastating personal losses. At times, this is genuinely moving to watch.

Source on TMDB