Harvey, mido505: Another aspect of Welles' performance in TOMORROW IS FOREVER is the fact that Irving Pichel directed it.
Born in 1891, a Harvard graduate, Pichel had a long career as an actor, director, narrator, and educator (in other words, the kind of career Orson Welles aspired to), ranging from the stage to movies to radio to the University of California. Early on, a close friend of George S. Kaufman (a pal of Welles), he influenced several successful Broadway theatrical careers -- i.e., Joseph Shildkraut. Then, moving to Hollywood, he was originally hired as an actor for the dual role of Dr. Jekyll/Mr. Hyde that went to Fredrick March in the 1931 version of DR. JEKYLL AND MR. HYDE. [Considered "too ethnic," Director Rouben Momouleon waggishly suggested that if Pichel got the part, they would have call the picture, "Mr. Hyde and Mr. Hyde."] Pichel was relegated to exotic character roles and villains of the sort that attracted Orson Welles, and he developed similar makeup and vocal tricks as he played Fagin in OLIVER TWIST (1933), Yomadori in MADAM BUTTERFLY (1932), Sergei Pavlov, a Russian Commissar, in BRITISH AGENT (1934), the German Agent, von Brecht, in THE SILVER STREAK (1934), Apollodorus in CLEOPATRA (1935), Sandor in DRACULA'S DAUGHTER (1936), and General Carabajal in JUAREZ (1938).
Also, in that time, Pichel gained directing experience in Hollywood and on the new medium of Radio. He co-directed THE MOST DANGEROUS GAME (with Ernst B.Schoedsack -- 1931), directed SHE (1935), I MARRIED A NAZI (aka, The Man I Married, 1940), THE MOON IS DOWN (1943), and THEY WON'T BELIEVE ME (1947). He acted in and directed various radio shows of the 1940's, and was the narrator for John Ford's HOW GREEN WAS MY VALLEY (1941), DECEMBER 7TH (1943), and SHE WORE A YELLOW RIBBON (1949).
He occasionally took small parts in the films he directed.
And so, despite his ups and downs, Pichel was the kind of actor/director/narrator who might very well have been suited to Welles in 1946, when they made TOMORROW IS FOREVER together.
At the time of his death, Pichel was teaching at UCLA, and involved in religious projects (another Wellsian interest) such as MARTIN LUTHER (1953) and DAY OF TRIUMPH (1954), a life of Christ.