I'll Be Seeing You (1944)

Yawn. Poorly Filmed Snooze Fest.

Very very predictable, including the post credit scene !!!

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The film never slows down or bores, plunging from one harrowing sequence to the next.

This story is too slow, simple, and predictable for me. Furthermore, the premise of the plot is unrealistic. I can't believe any prison would let any inmates out on a holiday vacation, traveling wherever they wish! Either they are on parole or house arrest or they stay in prison until released. Similarly, I can't believe a mental hospital would allow a patient to go home or wherever during the holiday season unless they are considered an outpatient. As the story suggests, being out in a normal world may reduce mental symptoms if they find someone sympathetic to their problem. Shirley Temple is mainly decorative, exhibiting some of the characteristics of a teen at that time, but finally spilling the beans to Cotton that Ginger is a jailbird out on furlough..... Nearly a decade later, Joseph Cotton would again play a soldier suffering from lingering combat fatigue, in "Niagara", costarring Marilyn Monroe.The title song is a classic, and we hear it during the opening credits, as well as at a dance. It was published in 1938, included that year in the Broadway play "Right This Way". Along with the film, several artists recorded it in 1944.

It isn't often that I give an "8", but this film has several attributes that make it worthy.First, most films are pretty run of the mill...which doesn't mean they are bad...in fact, can be quite good. But, occasionally a film comes along that is somewhat unique. This is one. A WWII soldier suffering from mild shell shock is on a furlough from the military hospital to relax in "real life". He meets a woman on the train who happens to be on furlough from a 6 year prison stint as a result of being convicted of involuntary manslaughter. Of course, neither is aware of the other's status. Let's see. How many times has this old plot been recycled? Well, never that I can recall.Second, an outstanding cast. For years I dismissed films with Ginger Rogers because I associated her only with a dancing partner with Fred Astaire. But more recently I have seen a number of her dramatic/romantic films, and she is consistently very good...and here she is great! Time has not been kind to Joseph Cotten's reputation as an actor. But every once in a while I am reminded of just how wonderful he was -- check out his filmography, and you'll recall many a substantive role. He's wonderful here, particularly a brief scene where he is overwhelmed with an attack from being shell shocked.The supporting cast is strong, as well. Shirley Temple does nicely as she is about to move into adulthood. Spring Byington is delightful, as she almost always was, though here her role is more serious than we sometimes find her. Tom Tully as the uncle...interesting to read up on him and how his patriotism led to a sad later life after some wonderful roles on-screen.I'm trying to think of some real criticism here...and it's difficult. Something about the scene with the dog struck me as not quite right, but it made a point. The ending is rather stark...but returning to prison would be a rather stark occurrence, wouldn't it? Yet, we do have a happy ending...of sorts.I hated seeing this film end. A sequel would have been nice...the further adventures of two people who are struggling to find happiness after their lives were turned upside down.Highly recommended. I'm going online now to see if it's on DVD.

Beautiful story about a female convict (Ginger Rogers) and a shell-shocked solider (Joseph Cotton) who meet on a train and, over the course of the next few days, fall in love. It's a sweet, charming, romantic movie that's also very grown-up. These are both adult characters with adult problems and yet the film manages to handle this all very well without cynicism. It's a very rare thing, then and now, to have a romantic drama that is neither too sentimental or too pragmatic. It's a slow and soft film, perhaps too slow for many, but worth giving a try. This is an uncelebrated classic from director William Dieterle with two wonderful stars turning in terrific performances. There's also a teenage Shirley Temple, whose acting is less subtle than the others, but not so much it derails the movie. The seasonal backdrop usually means TCM shows it near Christmas so please check it out if you enjoy old movies and love stories.

The other users have described the plot so no further comment is necessary therefore I will restrict myself to the acting and character portrayals.This film was produced in the same year that "Since You Went Away" was released by Selznick and contains two actors in that film, Shirley Temple and Joseph Cotton.It certainly did not have the same budget or production values as the aforesaid film, so I could only award it 6/10 as it is a rather straightforward "romcom".Todays liberal 2009 UK/(US?) courts would probably have given Ginger Rogers' character Mary an absolute discharge where she had no previous convictions and where the prosecution and defence teams agree that no useful purpose would be served to society giving the accused defendant a custodial sentence.However in 1944 the justice system was more severe and literal.To show Ginger Rogers could do straight dramatic roles look no further than "Kitty Foyle" (1940) for which she won her best actress "Oscar".Ginger was 33 when she acted this role so was a little mature but William Dieterle gave her soft focus lens close-ups and a youthful dress to take a few years off her age.This was the first time I had seen this film which is surprising as I thought I knew most popular 1940s films, it certainly has not been seen on UK TV network stations to my knowledge.After having seen Hitchcock's acclaimed "Shadow of a Doubt" (1943),I was preparing myself for Joseph Cotton to perform another "Uncle Charlie" role especially as he appeared to have suffered psychiatric medical problems.However this suspicion was allayed early on and "Zach" became more normal as the film progressed.One thing puzzled me. How did Zach know which prison to wait for Mary and when she would be returning there especially as she and her relatives had not given him its address.The ending was rather sappy but presumably done to cheer up war time audiences.Also I do wish directors would insist on actors carrying a full suitcase as an empty one is obvious when someone attempts to pick it up, i.e. Mary's initial arrival at her Aunt & Uncle's house.This fault in leaving home scenes still persists in todays soaps/films, despite cinema verite.