Beyond Tomorrow (also reissued as Beyond Christmas) is a 1940 American fantasy - drama film with a strong Christmas theme. It tells the story of three charitable industrialists who die in a plane crash on Christmas Eve and return as ghosts to guide a young couple toward happiness.

While modestly produced and not a hit in its time, Beyond Tomorrow has since become an enduring holiday cult classic - partly due to its heartwarming message and partly because it fell into the public domain, allowing it to be widely distributed and viewed over the decades. Below is a detailed overview of the film’s production, plot, reception, legacy, and interesting trivia. 

Development and Crew: Beyond Tomorrow was directed by A. Edward Sutherland, a filmmaker known for earlier comedies and a former actor (and original Keystone Kop). The screenplay was written by Adele Comandini (who also served as associate producer) and Mildred Cram, based on their original story. (Notably, Comandini would later co - write another Christmas classic, Christmas in Connecticut in 1945.) The film was produced by Lee Garmes, a distinguished cinematographer - turned - producer. Garmes, best known for his camerawork on films like Shanghai Express, chose to back this project as one of a handful of films he produced in his career. The production was undertaken by an independent company called Academy Productions and RKO Radio Pictures handled distribution. 

Filming: Principal photography took place in late 1939. Shooting began in late November 1939 at General Service Studios in Hollywood, California. The film was a low - budget B - film production, which meant it didn’t feature any A - list stars. Instead, it relied on a cast of seasoned character actors and rising talents. Despite the limited budget, the production aimed to create an uplifting, otherworldly mood - including special effects for the ghost sequences that were modest but effective for the era (such as the semi - transparent appearances of the spirits). Interior sets doubled for a Manhattan mansion and other locations, while establishing shots (like snowy New York streets) set the Christmas atmosphere. 

Alternate Titles: During development and release, the movie was known by a few different titles. It was originally released as Beyond Tomorrow, but it has also been known as And So Goodbye (an early working title or international title) and later Beyond Christmas. The “Beyond Christmas” title was used in some re - releases (especially for television and home video in later decades) to market it explicitly as a holiday film. Despite the title changes, the content of the film remained the same. 

Release Details: Beyond Tomorrow premiered regionally in the United States on May 10, 1940. It had a staggered release typical of the time; for example, it did not open in New York City until September 26, 1940. Upon release, it was often paired as a second feature in theaters (fitting its B - movie status). The timing of the release - mid - year rather than at Christmastime - was a bit unusual for a film set during the Christmas season. This may have impacted its initial box office performance, as it wasn’t specifically marketed as a holiday attraction in its first run. The film’s box - office returns were modest, and it did not make a major splash commercially. 

One of the film’s strengths is its ensemble of veteran actors and young performers, none of whom were top - billed “stars” at the time, but many were respected players: 

Other supporting players include Alex Melesh as Josef the butler, J. Anthony Hughes and Robert Homans as a policeman and sergeant, and William Bakewell who appears briefly as Allan’s son David in a Heaven sequence.

The cast was full of recognizable character actors of the era: for instance, Maria Ouspenskaya was famous for playing mystic older women (she would appear as a gypsy in The Wolf Man the next year), and C. Aubrey Smith was a distinguished English character actor often cast as military men or aristocrats. Harry Carey was a veteran Western star from the silent days, here bringing a bit of cowboy gravitas to the role of George. Charles Winninger, known from Show Boat (1936) as Cap’n Andy, plays the warm - hearted Michael who essentially becomes the guardian angel figure in the story.

Richard Carlson and Jean Parker were the younger leads: Carlson later became known for ’50s films like The Creature from the Black Lagoon, and Parker had been a Hollywood leading lady in the ’30s. In Beyond Tomorrow, they provide the romantic center of the plot. 

Setting and Introduction: The story is set in New York City during Christmastime. Three wealthy but lonely old friends - engineers by profession - share a large home: George Melton, Allan Chadwick, and Michael O’Brien. On Christmas Eve, they lament not having any family or guests to share the holiday with, aside from their kindly housekeeper Madame Tanya. To kindle some Christmas spirit, the three men come up with a charitable game: each man throws his wallet (containing $10 and a business card) out onto the snowy street, betting that an honest stranger will return it. Their hope is to find some good - hearted people to invite in as impromptu dinner guests. 

Christmas Eve Connection: Two of the wallets are returned by honest finders. James “Jim” Houston, a tall Texan cowboy in town for a rodeo at Madison Square Garden, returns Michael’s wallet; Jean Lawrence, a gentle young female schoolteacher, returns Allan’s wallet. George’s wallet, however, was picked up by a less honest person (a gold - digging socialite who discards it), so only Jim and Jean arrive. The three old gentlemen welcome James and Jean to dinner, and over the evening a warm friendship develops. James and Jean, both strangers in the city with nowhere else to be, also hit it off with each other and there is a spark of romance. By the end of Christmas Eve, the two younger people have formed a close bond with each other and with the elderly trio and Madame Tanya, essentially becoming like adopted family. 

Tragedy Strikes: Some time passes, and the three industrialists have to travel for business - despite it being winter. Madame Tanya has a premonition and begs them not to fly. However, George, Allan, and Michael board a private plane to Pittsburgh for an urgent project. Tragically, the plane crashes in a storm, and all three men are killed. James and Jean, who have since fallen deeply in love and gotten engaged, are devastated by the news of their friends’ deaths. They and Madame Tanya mourn the loss. 

Ghostly Return: The three men, however, do not move on from the world immediately. Their ghosts return to their familiar home, unseen by most living people. Madame Tanya, who is superstitious and spiritually sensitive, can sense their presence vaguely. The ghosts are pleased to see that before his death, Michael had arranged a gift that is now delivered to the young couple: he left James and Jean a package of valuable bonds so that they could afford to marry and start a life together. This act of kindness attracts media attention, landing James an invitation to sing on a radio program (since his singing talent was known to his older benefactors). 

Temptation and Conflict: James’s radio singing debut is a success, and it catches the attention of Arlene Terry, an established Broadway star who is looking for a new leading man for her show. Arlene, beautiful and sophisticated, becomes interested in James. She and her crafty manager Phil persuade James to join her musical show, propelling him toward a career in show business. As James starts spending more time rehearsing with Arlene, he grows infatuated with the older woman and begins neglecting Jean. Jean is heartbroken as their engagement frays, and the kindly ghosts can only watch helplessly. Michael’s spirit, in particular, is anguished that the love he helped foster is in jeopardy. Meanwhile, George’s ghost grows restless and bitter, feeling they are lingering too long; in one poignant scene, George is called to the hereafter but refuses to repent for his past and fades into a darker fate, implying he might be damned for not letting go of earthly grudges. Allan’s ghost also eventually heeds the call of his deceased son to cross over into the afterlife, finding peace. This leaves Michael O’Brien as the one spirit who stays behind, determined to help Jim and Jean even if it means risking his own chance at heavenly rest. 

Climax - A Christmas Miracle: The situation comes to a head when Arlene’s estranged ex - husband shows up, jealous of James. Arlene dismisses her ex - husband and goes off on a getaway with James to a country inn, further pulling James away from Jean. The jealous ex - husband follows them and, in a confrontation at a roadside inn, he shoots Arlene and James in a fit of rage. Arlene dies from the gunshot, and James is critically wounded. James is rushed to a hospital and actually dies on the operating table - his soul rises, where Michael’s ghost is waiting to greet him.

It appears to be the end for James, but Michael, in a final act of selflessness, appeals to a heavenly power to save the young man. A voice from above calls Michael, telling him that each soul is only summoned once. Michael chooses to sacrifice his own passage to heaven to plead for James’s life. In a poignant moment, this plea is granted: James is revived (given a “second chance” at life). With James spared, Michael’s spirit is at peace. Jean tearfully reunites with the repentant, awakened James at his hospital bedside, implying that their love will endure.

In the final moments, Michael O’Brien’s ghost finally ascends to the afterlife. We see that George’s spirit has also found redemption off - screen (having reconsidered his bitterness), and he joins Michael on the journey into a welcoming light. The film concludes on a joyful, miraculous note: love triumphs, and the three ghostly friends depart together into heaven as Christmas carolers sing, leaving the young couple to their happy life. 

(In essence, the plot starts as a gentle holiday tale of generosity and companionship, then turns into a supernatural melodrama about love, temptation, and divine intervention. The dual nature of the story - heartwarming holiday romance mixed with ghost fantasy - was unusual for its time.) 

When Beyond Tomorrow was released in 1940, it received a lukewarm response from critics. While some reviewers appreciated its sentimentality and the charming premise of the first half, many felt the latter part of the film was weaker.

Bosley Crowther, the influential critic for The New York Times, famously criticized the film. In his September 1940 review, Crowther wrote that for the first half Beyond Tomorrow was “a latter - day Christmas Carol, told with a gamin tenderness and warming as a hot toddy.” However, he felt that when the three kindly old men return as ghosts, the story’s “mystical peregrinations” became “more preposterous than moving.” In other words, he thought the movie started with promise but lost credibility and emotional impact once it veered fully into supernatural territory.

This encapsulates much of the contemporary criticism: that the film’s sentimental holiday setup was appealing, but the fantasy elements and plot contrivances in the second half (especially the somewhat convoluted way the ghosts intervene to save James) were seen as far - fetched or cloying. 

Trade publications of the era had similar views. Variety magazine’s review in 1940 noted that the film had an interesting concept and commendable performances, but it struggled to maintain a consistent tone. The review observed that the picture was part whimsical fantasy and part old - fashioned melodrama, and that this mix didn’t entirely gel.

As a B - film, Beyond Tomorrow didn’t get as much attention as bigger studio releases, but it did get notices for being an earnest little picture. Reviewers often praised the cast of veteran actors - Winninger, Carey, Smith, Ouspenskaya - for elevating the material. The young leads were generally well received too, though they were not big names at the time. 

In terms of box office and awards: Beyond Tomorrow did not receive any award nominations. It quietly came and went in theaters. 1940 was a year filled with high - profile films (Rebecca, The Grapes of Wrath, The Philadelphia Story, etc.), so this modest movie was largely overlooked by the public and the press after its initial release. 

Over the years, Beyond Tomorrow gained a second life and a measure of cult status, especially among fans of classic holiday films. A combination of factors led to this enduring legacy: 

• Public Domain Status: Crucially, the film’s copyright was not renewed by its rights holders after its initial term, causing Beyond Tomorrow to fall into the public domain (this likely happened in the late 1960s when the original 28 - year copyright term expired). Once in the public domain, any television station or distributor could show or sell the film without paying royalties. This status led to Beyond Tomorrow being broadcast frequently on local TV stations across America, particularly during the Christmas season. In fact, it became something of a Christmastime television staple. One notable milestone: as early as December 23, 1946, Beyond Tomorrow was televised on New York’s DuMont Television Network (WABD Channel 5), making it one of the first older feature films to air on TV. Through the late 1940s and 1950s, it was shown repeatedly during the holidays on various stations. The ease of access (being free to air) and its holiday theme made it a reliable choice for programming. By the time the era of home video and cable arrived, Beyond Tomorrow was widely available in many bargain - bin VHS or DVD editions (often of variable quality, due to the use of secondhand prints). The sheer number of airings and video copies helped new generations discover the film, keeping it in circulation even as many other 1940 movies were forgotten. 

• Reevaluation as a Christmas Classic: Among classic film enthusiasts, Beyond Tomorrow eventually came to be appreciated as a “lost” Christmas classic. While not as famous as It’s a Wonderful Life (1946) or Miracle on 34th Street (1947), it shares a similar heartwarming, redemptive spirit. In fact, fans and film historians have noted several parallels between Beyond Tomorrow and Frank Capra’s It’s a Wonderful Life. Both are holiday tales involving supernatural guidance (ghosts or angels) and a protagonist getting a second chance at life. It’s interesting that Beyond Tomorrow predates Capra’s film by six years - in some ways, it was an earlier take on the idea of celestial beings intervening in human affairs to teach lessons about love, generosity, and what truly matters in life. Because It’s a Wonderful Life later became so iconic (also aided by a period of public domain television showings in the 1970s), Beyond Tomorrow is sometimes compared as a minor precursor. Some viewers who stumble on Beyond Tomorrow now consider it a touching and overlooked gem. Especially for those who enjoy vintage Hollywood sentiment, the film’s earnestness and old - fashioned charm can be very appealing. 

• Cultural Footprint: Although Beyond Tomorrow is not widely famous in mainstream pop culture, it has had its nods. For example, the film was spoofed on RiffTrax (the offshoot of Mystery Science Theater 3000) in December 2017. Comedians Bridget Nelson and Mary Jo Pehl provided a comedic commentary track, poking fun at the film’s dated aspects and melodrama. This kind of treatment is often reserved for both obscure and beloved older films - indicating that Beyond Tomorrow is recognized enough among classic film fans to be riffed on. Additionally, the film is frequently included in compilations or discussions of Christmas movies and ghost films. Its premise of benevolent ghosts helping the living ties it to a long tradition of supernatural moral tales (from Dickens to Hollywood’s Topper films and beyond). Modern reviews and blog write - ups (especially around the holidays) often highlight Beyond Tomorrow as a feel - good recommendation for viewers interested in vintage holiday fare beyond the well - known titles. 

• Modern Critical View: In retrospect, modern critics and audiences are a bit kinder to the film than the 1940 critics were. On review aggregator sites, Beyond Tomorrow typically gets average - to - positive ratings (for instance, roughly a 6.5/10 on IMDb, and a mix of reviews on Rotten Tomatoes). Contemporary viewers often describe it as a sweet, if somewhat naively - told, story that captures a nostalgic Christmas spirit. The first half of the film is usually praised for its warmth and the chemistry among the cast. The second half, with its dramatic shift, is still sometimes viewed as slow or overly sentimental by today’s standards, but many appreciate the message of hope and the fantasy element as part of the movie’s unique identity. It’s not uncommon to see modern audience reviews call it a “hidden gem” or an underrated holiday classic. Of course, some viewers find it corny or dated - reception is mixed - but for fans of classic films, Beyond Tomorrow holds a quaint appeal. 

In summary, through decades of television airings and public domain distribution, Beyond Tomorrow managed to survive when many other films didn’t. It carved out a modest but real spot in Christmas movie history.

The image of three wise old ghosts playing guardian angels to a young couple is an endearing one that resonates with the spirit of the season, even if the film’s execution has its imperfections. 

Because of its public domain status, Beyond Tomorrow has been released and re - released on home media countless times by various companies.

Many of these releases, especially earlier VHS tapes or DVDs by budget labels, used poor - quality source materials (some were edited or derived from second - or third - generation prints). As a result, for years viewers often saw the film in less - than - ideal form - scratchy, dark prints with missing footage were not uncommon. 

However, there have been efforts to preserve and improve the film for modern audiences: 

• Preservation and Restoration: A noteworthy development came when the National Film Museum, Inc. (a private organization) digitally remastered and preserved the original film elements. Thanks to such preservation work, higher - quality prints of Beyond Tomorrow exist today. This restored version has been shown on television in recent years. In fact, Turner Classic Movies (TCM) now annually includes Beyond Tomorrow in its December lineup of holiday films, typically broadcasting a good - quality print around Christmastime. Viewers who catch it on TCM (or on DVDs sourced from the restoration) can see a much cleaner, more complete version than what circulated in the past. 

• “Beyond Christmas” Re - release: In 2004, 20th Century Fox Home Entertainment (in partnership with Legend Films) officially released Beyond Tomorrow on DVD under the title Beyond Christmas. This release was significant because it included both a fully restored black - and - white version of the film and a newly colorized version. Legend Films was known for its colorization of classic black - and - white movies, and they applied that process to this film to attract a broader modern audience. The DVD, marketing the film as a family - friendly Christmas tale, helped introduce Beyond Tomorrow to those who might not have encountered it on TV. (Fox presumably got involved because, despite the public domain status, they could market their superior restored print and colorized edition as a value - added product.) This 2004/2005 DVD release, sometimes mislabeled as 2008 in certain sources, is one of the best ways to view the film, as it presents a crisp version of the original film. The colorized edition gives an alternate way to experience the movie, though purists prefer the black - and - white. Since then, other DVD and Blu - ray editions have also appeared, often sourcing that same restoration. 

Finally, here are some interesting “official and unofficial” tidbits about Beyond Tomorrow that add color to its story and production: 

• Festive Cocktail on Screen: In the early scenes at the gentlemen’s Christmas Eve dinner, the characters share a traditional holiday drink from a punchbowl. The beverage mentioned is a “Tom and Jerry” cocktail, which is a warm, frothy mixture similar to eggnog with added brandy and rum. This old - fashioned Christmastime drink might not be widely recognized by modern viewers, but it was a popular festive libation in the mid - 20th century. Its inclusion in the film further cements the holiday atmosphere (in fact, the movie doesn’t shy away from embracing Christmas tropes, with ringing church bells and snow in the opening shots). 

• Hollywood Connections: Director A. Edward Sutherland had an interesting Hollywood pedigree. He was the nephew of silent film star Thomas Meighan and a close friend of legendary comedian W.C. Fields. By the time he made Beyond Tomorrow, Sutherland had directed numerous films, including comedies with the likes of Laurel and Hardy and Abbott and Costello. Also of note, Sutherland’s future wife, Edwina, was involved in the production - Edwina designed the gowns for the film’s female characters. She married Sutherland in 1944 (a few years after Beyond Tomorrow was completed), becoming his fifth and final wife. 

• Music and Songs: The film’s musical score was composed by Frank Tours, and it blends a playful, whimsical tone with traditional melodies. Richard Carlson’s character Jim is a singer in the story; at one point Carlson performs an a cappella song called “Louisiana Lady,” which was actually an uncredited composition by Frank Tours. The movie also features several Christmas carols and standards in the background, such as “Hark! the Herald Angels Sing” and “Jingle Bells,” underscoring its holiday setting. An original song titled “It’s Raining Dreams” (by Harold Spina and Charles Newman) is featured as well. While Beyond Tomorrow was not a musical, music plays an important role in establishing mood - especially as Jim’s singing talent is key to the plot. 

• Life Imitates Art? Interestingly, one of the screenwriters, Adele Comandini, had a knack for stories about unlikely families coming together at Christmas. Five years after Beyond Tomorrow, she co - wrote Christmas in Connecticut (1945), another film where lonely individuals end up together for a Christmas meal (albeit that one without ghosts and in a comedic vein). It’s as if Comandini carried forward the theme of found family and Christmas spirit in different forms. 

• Similarities to Other Works: Aside from the frequently noted parallels to It’s a Wonderful Life, some have compared Beyond Tomorrow to other ghostly tales. The concept of three ghostly friends acting as guardian angels has echoes in the earlier film Topper (1937) - wherein a couple of playful ghosts befriend a banker - and even images reminiscent of Dickens’ A Christmas Carol (with three “spirits” teaching lessons, though in this film the ghosts are benevolent and not there to reform the Scrooge characters, but rather to help the next generation). The film’s original advertising even leaned into the Christmas Carol vibe a bit, likely to give audiences a point of reference. 

• Public Domain Consequences: Because anyone could distribute Beyond Tomorrow, it earned the unfortunate distinction of many poor - quality versions circulating. For decades, it was common to find edited 16mm television prints or murky transfers on TV. This also meant the film had numerous VHS releases by different labels. Collectors note that some cheap DVDs retitled Beyond Christmas even truncated the film or added different opening credits. The silver lining is that its public domain nature also kept it from disappearing completely - unlike some RKO films that are now seldom seen due to rights issues, Beyond Tomorrow stayed in the conversation. And as mentioned, the film has been nicely restored now, reversing the damage of those years of neglect. 

• Trivia in Plot Details: Within the story, after death the three old men’s ghosts find that their physical ailments are gone - for example, Allan no longer needs his eyeglasses, Michael’s limp vanishes, and George’s bad back is cured. They greet this revelation with a bit of humor, marveling that being dead “isn’t so bad” because they feel young again (until the emotional weight of unfinished business sets in). It’s a small detail, but it adds a touch of optimistic fantasy to the depiction of the afterlife. 

• Alternate Ending Rumors: There’s no widely known alternate ending for Beyond Tomorrow, but some sources indicate that early drafts of the script might have had a less fatal outcome for certain characters (for instance, perhaps Arlene not dying, or the ghosts having a different resolution). However, the released version firmly opts for a mix of tragedy and uplifting miracle, which likely was always the intent. Given the era, the happy ending (the young lovers reunited and the ghosts finding peace in heaven) was necessary to leave audiences with a feel - good impression despite the somber moments before. 

• Modern Remake Potential: Although no official remake has been made, the core premise of Beyond Tomorrow lends itself to reimagining. In fact, at least one modern reviewer mused that this film “could be remade into an excellent sentimental film” today. The idea of a group of guardians from beyond the grave watching over a couple has a timeless appeal. While there have been many Christmas films with guardian angels or ghosts, Beyond Tomorrow’s particular setup remains unique, and one could imagine a contemporary adaptation bringing it to new audiences (perhaps with updated twists). As of now, this is just a thought that occasionally circulates among fans; there’s no known development of a remake. 

Beyond Tomorrow may not have the widespread renown of some other holiday classics, but it stands out as a gentle and rather inventive piece of 1940s cinema.

Its blend of Christmas warmth, romantic drama, and supernatural fantasy gives it a special place in the genre of holiday films. The movie encapsulates themes of generosity, second chances, and the enduring power of love and friendship - even beyond the grave.

For viewers who seek a heartwarming old Hollywood movie with a dash of ghostly whimsy, Beyond Tomorrow delivers. Over eight decades later, thanks to restoration and its public domain availability, the film continues to find new fans.

It remains a testament to the era’s filmmaking and a charming reminder that sometimes the simplest acts of kindness can echo in wonderful, unexpected ways.