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This film is good,but not Schaffner`s best. My favourite is Papillon and Patton,but this is a sad and very nice film. Kris Kristoffersen is good in this movie and really makes a difference. I am going to miss Schaffner and this is his last film.

A good film by a great director! 7,5/10

I saw this movie in the theatres in 1989, and it's horrible memory lingers on to this day. What to mention first? The gushing tears that too often grace the character's cheeks? The horrible plot device of having JoBeth Williams kneel in front of her record player crying while Your Song by Elton John plays in the background? The sappy teenaged son of JoBeth and Kris?

The convenient million or so dollars that Uncle Sam drops in Kris' lap, allowing him to buy a house and a car, unlike most other Vietnam Vets?

Or the ease and guiltlessness with which JoBeth hops in the sack with Kris again, after all these years, and despite his deathmasklike craggy features, and despite being married to a much nicer guy, Sam Waterston, who plays the cuckold well, but is totally wasted in this picture.

Insipid soundtrack and gushy spineless characters. Not a good combo.

How I wish Kris' former family turned their backs on him, after asking a few penetrating questions like "Where the hell have you been?" or "Why didn't you try to get in touch with us?" or "How's about moving to another part of the country and leaving us alone?"

This was a really nice surprise. I was up late last night and couldn't fall asleep. Not really thinking twice, I turned on my TV and HBO was on, and this film was just beginning. Luckily I saw the whole thing, and I am very happy I did. Because this film was very good. The actors were well-cast, and they did a surprisingly good job. Kris Kristofferson delivered a solid performance, there was a lot of substance behind his lines. This film made me realize he's a good actor. Brian Keith was great as his father, as was Trey Wilson playing the Colonel (this was Trey Wilson's final role before his untimely death. Too bad, he was a quality actor and seemed like a nice guy). Jobeth Williams also did a nice job as Kristofferson's American wife. As far as the direction, I had no idea Franklin J. Schaffner was the director until I read the review in Leonard Maltin's Movie Guide(this was the last film he ever made). Now I understand why this movie was so good. Schaffner also directed Patton, a truly great movie(I haven't seen his other great film, Papillon). While I was watching "Welcome Home", I said to myself, "this director really knows what he's doing," not knowing that Schaffner had directed it. There's one really beautiful scene in a Thai orphan refuge, enough to bring tears to my eyes. Not only was this sensitively directed, but it was also directed in a very economical and taut way. There is nothing wasted in Schaffner's effort. The script was one reason this film is so good. The writer doesn't weigh the actors down with too many lines. It was written very simply but very effectively. It just shows you that a lot can be said with few words. This film also made me proud to be an American, at the same time that it showed you how beautiful ALL people are.

War veterans can unfortunately suffer from some pretty heavy stuff. War in general causes problems for almost everybody all the time. It's not a nice activity to par-take in. Soldiers go off to fight; some come back while others never return. It's a sad truth, but that's sometimes the normality of it all. When marines go off to battle, most return with some kind of post traumatic stress (PTS) that changes the way they behave. This ranges from person to person and the intensity can vary too. But for those who lose their loved ones at war, nobody enjoys receiving a box with their offspring's name plate in it. On the other hand it's even more of a shock to the system when that individual returns from combat. After long periods of waiting, family members can get worried. The relief of knowing and being able to see somebody again after an extended time is overwhelming. But what is it like when someone is realized to be living when originally confirmed dead? This causes a whole new scenario.

Kris Kristofferson is Jake Robbins, a Vietnam war vet who was supposedly killed on duty in 1970. When in reality, he was being taken care of by some natives. Seventeen years later he wakes up to discover he's back in the states and missing his family. He's then accompanied by Col. Barnes (Trey Wilson) who informs him that he cannot return back to Vietnam to see his kids for word getting out that there might be some survivors left behind. Frustrated with the options he's given, he returns home to get some closure with his dad (Brian Keith). He also visits his now moved-on wife Sarah (JoBeth Williams), his son Tyler (Thomas Wilson Brown) and step-father Woody (Sam Waterston). With a screenplay by Maggie Kleinman, who would only write for one more movie being Desperate Choices: To Save My Child (1992), the script is all right for a basic story. It does have some unanswered questions and plot threads, but overall it's solid for a premise. This makes it watchable, but on a predictable level.

What doesn't make sense in Kleinman's script are some unresolved plot components. The most noticeable lack of clarity is when it comes to Jake's return. Who picked up Jake from Vietnam? Did he make it back himself? The scene before he woke up in the states was being taken to a hospital in Thailand. Where was the transition? Another problem arises with some character's unresolved actions. An act or two are committed that seem like a reconciliation would be in good order. However that never happens either and it's kind of a big deal. One should not be able to walk away feeling fine with themselves. Aside from these two concerns, the final point to be made is that the structure of the story is very predictable. From start to finish the long-term experience doesn't bring up many new twists or surprises along the way. The plot is quite linear in a very practical sense. There isn't much to it other than how certain characters cope with Jake's return. And the end result is none too shocking.

Yet that doesn't mean watching this movie is boring. All members involved that were listed act the way one would expect. The characters are very relatable in the situations they encounter as well as their reactions. Watching Kristofferson play Jake and seeing him make mistakes along the way is the right kind of development. For anyone who's been claimed as long gone and returns, the feeling is confusing. You want to return, but it's hard to say whether that might open up old wounds or not. Topics like these are mixed bags when it comes to feelings and it's a risky gamble. Sarah, Woody and Tyler's revelations when they find out of who Jake is just as sympathetic. One of the best scenes though was when Jake's father finally sees him again. It's a gratifying experience. The human drama and emotions are clear. Brian Keith also gives some great insight to Jake after he contemplates how he's a deserter. That's blown right out of the water after his dad talks.

Directing this feature for the final time was Franklin J. Schaffner. With what has been presented on screen as much as the script struggled to clear up some things, Schaffner's direction was mighty helpful. Without him, the story would not have been as engaging. Schaffner had also directed The Boys from Brazil (1978), Patton (1970) and Planet of the Apes (1968). For visuals, Fred J. Koenekamp handled the camera. Since this was a film with a much smaller budget, whatever was captured was the greater part real. There aren't too many distinct shots but the scenery captured is pretty. Much of the background contains suburban town roads, to back country lake houses. Koenekamp also worked on The Hunter (1980) and The Swarm (1978). Lastly, famous composer Henry Mancini produced the film score. Another great aspect to this feature was that Mancini created a reoccurring main theme. Even Kristofferson's good buddy Willie Nelson made a song for the film. This is memorable, it's just sad that the soundtrack wasn't released.

The procession of its story is as predictable as one would think and there are moments that go forgotten, but this is still an enjoyable film. The characters are likable and have understandable motivations. The cinematography is pleasing and so is the music.

Seventeen years after his remains were supposedly delivered to the United States, Kris Kristofferson returns to the United States from his refuge in Thailand, where he had built a new life. His wife, Jobeth Williams, has married Sam Waterston, and his son, Thomas Wilson Brown, thinks of Waterston as his father. Kristofferson's mother has died, but his father, Brian Keith, is overjoyed. Kristofferson tries to fit back in, with the Army on his back because his return would be inconvenient.

It's Franklin J. Schaffner's last movie, released a couple of months after his death. Like many of his movies, it pits the lone outsider against a paranoia-inducing system he doesn't understand. However, unlike his earlier movies, the telling of this one is more standardized. The camerawork by Fred Koenkamp is solid but not flashy. The editing by Robert Swink is efficient. The story is carried by the actors -- but then Schaffner had always been a fine director of actors.

Still, the net result is a soap opera tinged with We-Were-Betrayed paranoia. Schaffner was held in high esteem by his peers; he was President of the Directors Guild of America at the time of his death. Yet he had become a director-for-hire on all sorts of projects that seem beneath his standards. Early on, he had directed prestigious works for TV, projects like the first version of TWELVE ANGRY MEN, PETER IBBETSON and ANTIGONE; his movies had included THE BEST MAN, PATTON and PAPILLON. By the 1980s, he was directing -- or trying to -- Luciano Pavarotti in YES, GIORGIO.

There is a cycle for a creative artist: young and full of ideas, older and in control of his craft. The fortunate retire at their peak. Those who continue the race after their time has passed seem to be worn out, their later works subject to the apologies of critics who don't seem to understand that talent, ability and opportunity are fleeting things, and Hollywood, and the applause of the audiences even more so -- especially egged on by critics, always looking for the bronzen god's clay feet. I think that Schaffner did as much with this movie as he could, but script and budget failed him. All he had left was the actors, and he got a lot out of them.