Boring, long, and too preachy.

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

I saw this movie before reading any reviews, and I thought it was very funny. I was very surprised to see the overwhelmingly negative reviews this film received from critics.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

In order to clean up the play and make it suitable for all, M-G-M have reinforced what were originally only passing similarities to Cecil B. DeMille's old Broadway warhorse "The Return of Peter Grimm" which opened at the Belasco in 1911 and was subsequently filmed by RKO in 1935 with of course Lionel Barrymore in the lead. Because of these changes it's now difficult to separate the two movies. In fact, I always thought "On Borrowed Time" was a re-make of "Peter Grimm". Getting back to Paul Osborn's 1938 stage play, it's worth noting that chiefly because of its bad language (from both the old man and the young boy) but also no doubt because of its anything-but-traditionally-Christian view of the after-life, the play was banned in both England and Australia. Because of its derivation, the movie was banned also, although the British censor relented in 1946. It's hard to imagine the play upsetting people today, let alone the film. Certainly a very stagey affair, the movie does boast some exciting performances - particularly Beulah Bondi, faultlessly altering the timbre of her voice and superbly made up to look more than twice her real age - though Bobs Watson tends to outstay his ability. Direction is as dull as you might expect from the usually uninspired Harold S. Bucquet (pronounced Biew "to rhyme with view" Kay), and the photography by Joseph Ruttenberg, outside of a few exquisite moments at the very beginning, is surprisingly flat. Likewise the sets are unnecessarily drab, the special effects poor. Having shelled out a fortune to buy the hugely successful play, M-G-M were obviously determined to make the screen version on the cheap. Barrymore lets loose with an exaggerated reprise of his 1935 Peter Grimm, which emphasizes the fact that the writers have done almost nothing to disguise the script's stage origins. (The screenwriters based their script on the play by Paul Osborn, rather than on the original novel by Lawrence Edward Watkin). Nevertheless, as the Prologue is quick to point out, the story does have a certain fascination in itself, which no amount of incompetence can entirely dim.

I thought Una Merkel's character and her fiancé should have been given custody of Pud. That would have been the correct happy ending; then we could have seen Pud join his relatives later in the after-life. The way the story plays now, it is as if Gramps commits suicide and also kills Pud before he goes. Most viewers will realize early in the story that Pud is going to die, because he hears AND sees death, while the other characters who are not yet about to die, do not. Nonetheless, the story attempts to look at mortality in a creative way. If you have ever had a special bond with your grandparents, then the heartwarming relationship between a boy and his Gramps will mean something to you. Based on a stage play, the film's action does tend to be a bit limited to the house and backyard. The drama does not pick up till after the grandmother dies and everyone thinks Gramps is crazy. The scene where Gramps shoots the man who is trying to take him to the asylum is great, and I did like the scene where he looks out at the tree and hopes that the man did not die, or he has a devil of a problem

This is a totally bizarre but highly entertaining film--mostly made that way thanks to the wonderful and folksy performance by Lionel Barrymore. He plays a crotchety old fart who, along with his long-suffering wife, is raising his grandson. By today's standards, they do an excellent job--the boy is sweet and totally loved. However, due to some slightly dirty language and a disrespect for authority that the boy picks up from grandpa, some do-gooders (a.k.a., dried up old prunes) try to get the boy placed in a "nice home". Well, after this interesting beginning, the story takes a detour,....and talk about detours!!! Grandpa tells the boy that their tree outside is magic and it can trap Mr. Death in it just by placing a magic spell on it. Well, all this is meant as a joke,...that is, until they realize they really have captured the Grim Reaper! Although this SOUNDS great, there were some serious unintended consequences (as in the movie DEATH TAKES A HOLIDAY) and the resolution of this strange fantasy is something you'll just have to find out on your own. This is a wonderful undiscovered gem.

This truly is an unforgettable film. I saw this decades ago and never forgot it,except the name. Somehow I came across the name and I am so thankful that I was able to get it on VHS at Amazon before the price skyrocketed to today's price of $71! I consider this an absolute treasure of my collection,along with "Don't Be Afraid Of The Dark" with Kim Darby. On Borrowed Time touches your heart on several levels. It has delightful humor as well. It is also beautiful to look at. If you can find it cheaper,GET IT! If you have the money to splurge,GET IT! You will not be disappointed in this wonderful movie.The quality of my VHS copy is very good also.