First saw this film as a child on Bill Kennedy at the movies in Detroit. I thought it was so cool at the time, and spooky. I loved the acting and many of the character actors I had recognized from so many other films of that era. And the ending was so great because I didn't see it coming and I was such a romantic that I couldn't stand that the two main characters would be apart since she had done nothing wrong but out of love for him. A great screenplay! Ever since I have always preferred films from the 30s and 40s over today's offerings. They always gave the actors time on screen to develop the characters and events. This film is one of the reasons I grew up loving movies!!

I have seen this film on and off over the years starting probably around 1960 when it first appeared on Australian television. During World War Two, a small group of people sailing on a passenger liner from London find they are heading for an unexpected destination.This film was made during the war. With the world in arms, audiences of the day would have been only too aware of the imminence of death, if not for themselves then for the ones they loved. I think this film would really have hit home, possibly in a reassuring way in as much as the film accepts that there is life beyond death. There were a number of films made during the war or shortly after that dealt with death and beyond: "Here Comes Mr. Jordan", "A Guy Named Joe", A Matter Of Life And Death" and "The Horn Blows at Midnight". But "Between Two Worlds" was the most serious of them all. It delivered reassurance of an afterlife, but its premise was that a worthy life is essential for an easy transit to the next world - the quality that all religions from the ancient Egyptians onward stress more than anything else. Completely studio bound whether on land or at sea, the film shows the influence of the 1923 stage play on which it is based. But that foggy, claustrophobic atmosphere gives the film a mood that is sustained from beginning to end."Between Two Worlds" features a couple of iconic stars: John Garfield and Sydney Greenstreet. Both give minor variations on their familiar screen personas - Garfield the cynical, street-wise guy whose luck always seemed to be out, and Greenstreet whose rotund affability always masked a deeper agenda. However Paul Henreid and Eleanor Parker give the most effecting performances as Henry and Ann Bergner. There are many lump-in-the-throat moments in the film, but the Bergner's doomed love affair and redemption is an emotional roller coaster. Erich Wolfgang Korngold only produced 18 film scores in his career, and his work for "Between Two Worlds" was his personal favourite. This sumptuous, soaring score with its chimes and echoing notes cements the film together and directs the mood. "Between Two Worlds" is a unique film. Thankfully, in Australia, we still have programs like "Bill Collins Golden Years of Hollywood" and "Turner Classic Movies" otherwise movies such as this would disappear from our screens all altogether.

I watched this twice in a row to insure I did not miss any dialog that connected the dots for meaningful scenes. I never do this but gladly watched this with the same anticipation and wonderment at the script.These old films are many times a complete crap shoot when it comes to enchantment, entertainment, and food for thought. This delivered on all three aspects. I had issues with several touch points but overall a stellar production.Having just lost my closest friend to suicide I imagine I searched for meaning more so than other viewers and found even the tritest detail compelling.Sidney, always larger than life, seems to have just left his body from Casablanca in yet another exotic yet powerful costume sans fez. Always a scene stealer with an atypical calm and peaceful posture. This film does make you wonder what the heck happens when you expire. Have you ever talked to someone who is a non-believer atheist who has an NDE (Near Death Experience)? They make it sound like they can't wait to kick and wish they had the cajones to make it happen pronto! Listen to Dannion Brinkley much? Yep!I believe there is no Hell no matter what type of life you lived here on Earth. There is always some sad tormented story that led folks on a path to destruction and if we are supposed to forgive our enemies, then why would God have any notion of Hell?? Makes absolutely no sense, and that means Hitler, Stalin, Mother Teresa, etc.What bothers me about others who have 'contact' with the 'other side' keep yacking about how great everything is and they don't miss you one teensy bit. I call crapola! If God is compassionate and full of emotion, those in Heaven have such a limited experience?? I call, well you know what...arghhh!The sets are truly dreary and uncomfortable and everyone, even the priest, is at odds with the process. That was surprising. The sole heartwarming moment when mother and son are reunited provided the most promising aspect of the afterlife.High recommend for some unexpected dialog, plot, acting and surprise ending. Garfield was great but Greenstreet...superb!

Nice cast and they all do well by their roles. There's the cynical newspaper reporter -- this is 1944 and they still had newspapers -- and his actress manqué girl friend, the idealistic reverend, the humble English housemaid, the strutting and demanding billionaire, the comic Brooklynite, an elderly couple of stiff social climbers, and they're all dead -- killed in a London air raid.They're a little foggy at first but then settle down aboard what they believe to be a freighter bound for New York. Accidentally thrown into the group are a couple of suicides -- Paul Henreid and Eleanor Parker -- who know that they and everyone else is dead, which puts them a leg up on the others. Edmund Gwen is the steward who takes care of all the questions and details. There are no other personnel, no ship's crew, no cook, no nothing.If it all sounds much like a staged play that's because that's pretty much what it is. Sutton Vane's play ran for 144 performances and the effort he must have put into writing a kind of Twilight Zone episode while keeping the audience's interest is on full display. It's wordy. It's full of confrontations, solace, braggadocio, yawping, wonderment, and anger. John Garfield, as the deceased reporter, is his usual cynical tough guy but he's given so many lines of gibberish ("The sky is falling; the cow jumped over the moon; the stock market has crashed") that it stretches his talent to the creaking point, as it would anyone's.I found it rather long and dull. The only real tension involves the passengers finding out one by one, by different means, what's going on. The development and disposal of characters is predictable. Best elements of the film: (1) Eleanor Parker's youthful radiance, and (2) Eric Wolfgang Korngold's soaring and bombastic musical score.