11/8/25

Till We Meet Again

Directed by Frank Borzage (1944)

An American pilot (Ray Milland) carrying a crucial message behind enemy lines is shot down
in the proximity of a convent in occupied France. A young novice (Barbara Britton, in a role
initially imagined for Ingrid Bergman) finds herself compelled to help him escape from the
German soldiers that are hunting him. Lesser known than Frank Borzage’s more widely
available melodramas such as Farewell to Arms and A Man’s Castle, this adaptation of Alfred
Murray’s unpublished play, Tomorrow’s Harvest is — according to biographer Hervé Dumont
— “the most underestimated jewel in Borzage’s filmography.” Beautifully photographed by
German cinematographer Theodor Sparkhul (an expert of expressionistic chiaroscuro who
had worked with Ernst Lubitsch in the 1920s), the film combines Borzage’s pursuit for an
aesthetic representation of spirituality with recurring themes found in his work such as his
faith in the transcendent power of love and his anti-Nazi sentiment.