There's Always Tomorrow

If you're unfamiliar with Sirk then I have to warn you not to be fooled by the glossy appearance and corny premise, because There's Always Tomorrow is an excellent, intricate and thought-provoking family drama. A lot of these overlooked Sirk films are not as bombastic, so they've sadly been neglected by the modern "retro" crowd that digs the camp appeal of sharp corners and exaggerations. But apart from an ending that's too simple and shoddy, this is a gem like the rest of them.

Not one of Sirk's best, but it reflects some of his best qualities. Although one misses his sense of color, the compositions are strong and make good use of the frame. The subversive element is there, and quite out in the open as Sirk exposes the tedium and lack of fulfillment in a suburban, nuclear family. One feels that our protagonist would be unhappy no matter which path he chooses in the end ... an ending dictated by the Hayes Code, but which Sirk cleverly makes deliberately hollow.

The chemistry between MacMurray and Stanwyck is palpable; the corniness of the conceit is transcended by Sirk's expert eye for detail and subtle criticism of 50's conventions.

Less satirical than other Sirk films but that doesn't hinder the subversiveness of the film and the melodrama is incredibly effective. Not only is the film thoroughly engaging, it avoids any easy answers to issues that Hollywood films tend to find pat resolutions for.

Sirk in black and white is still Sirk, although I do miss that technicolor. The direction is flawless and fluid, touching the symbols lightly, and the actors are excellent. MacMurray gives a fine performance as a man tempted by an old flame; he reveals, as Stewart did in "It's a Wonderful Life," the anguish and darkness that are sometimes part of being a good husband and father. Pat Crowley, as Fred's son's girl friend, is lovely and memorable as the only young person who understands him.

Absorbing Sirk melodrama, which although fairly closed, as of it's time, still manages to pose a few questions.

Character dynamics are Sirk’s strength and it shows here despite the lack of colour. He manages to convey emotions and differences in personality without seeming too deliberate.

argument for an open relationship

Sirk's movies with Barbara Stanwyck were godsends for her flagging career...the 7 or 8 movies she made between All I Desire (1953) and this one were not good ones, or at least, not good for Stanwyck (okay, Witness to Murder wasn't bad...Titanic was made before All I Desire). Pre-code movies often called marriage a "prison"--the word isn't used here, but shows us it is with stunning clarity...at least for one as weak as Fred MacMurray. Stanwyck is marvelous--helped by an ever-elusive good script.

Stanwyck causing trouble for McMurray once again in this absorbing if middling drama. Nice to see a Sirk movie where the man is the focus, and it tackles what must have been rather prickly issues for the time,

Remarkably good soap opera. It relies too much on coincidence, but it's well-acted, and it's kinda nice to see a Hollywood movie that's an unabashed tribute to the virtues of home, marriage, and family. In other words, you give a flying you-know-what

700

watched: 2014, 2021, 2023

491

#692

Mud life crisis caused by the return of an old admirer 1950s resolution

# 463