Cubussoli
Very very predictable, including the post credit scene !!!
Lovesusti
The Worst Film Ever
Dotsthavesp
I wanted to but couldn't!
bkoganbing
This version of There's Always Tomorrow plays a tad better than the original version that Universal Pictures did in 1934. For one thing the overwhelming theme of the Great Depression is not present on the screen and the kids are a bit less shallow than those of the originals.Fred MacMurray is a wealthy toy manufacturer who is alienated by his family especially his kids. Wife Joan Bennett takes dependable Fred for granted and the kids, Gigi Perreau, Judy Nugent, and William Reynolds just see him as a cash cow. When an old flame played by Barbara Stanwyck comes to town the results are inevitable. This is the fourth of four films that Fred MacMurray did with Barbara Stanwyck and while fans of both should be pleased it's hardly in the same league as Double Indemnity. Douglas Sirk who did so well by Rock Hudson in the Fifties directed this version of There's Always Tomorrow. It has the requisite number of suds for the glorified soap opera that it is.
JLRMovieReviews
Fred MacMurray and Barbara Stanwyck reunite after "Double Indemnity" and "Remember the Night" to star in this great unknown film, which is another Ross Hunter-produced and Douglas Sirk-directed picture.Joan Bennett is Fred's wife and mother of his three children. But he is missing something, because her children are her world and they are in their own world, always taking. So when old friend Babs shows up, he spends time with her, only to fall in too deep. Unbeknownst to them, his oldest son joins him on a business trip. But, his client cancelled, leaving only Babs there to entertain Fred (who, yes, just happens to be there). The son sees them together laughing and jumps to conclusions. He promptly leaves not telling his father what he's seen. But, nothing ever happened! But the son, played by an actor I don't know, goes ballistic.The only problem I have is that the actor seems to get a little over-the-top. But, then again it is his strong reaction which is the catapult of all that happens later in the film.What makes this exceptional is a well-written and intelligent script and Fred and Babs' credible acting and chemistry. Man, that Stanwyck could act! She could act the arms off a chair! The scene where she chews the children out and the scene where she tells Fred that they could never be, are highlights. This film makes me want to watch nothing but Stanwyck's movies for a month!The title is a little misleading, though. It's obvious they mean that in "another time, another place" it could have happened and he and Babs could have been together. But with Fred a family man, the viewer is expecting him not only to stay with his family, but to really want to and not feel miserable doing for them.That notwithstanding, if you've never heard of this movie, you need to find it immediately. But, you won't regret it. We always have Stanwyck.
boy-13
In this Douglas Sirk-directed sudser, Fred MacMurray plays a toy manufactorer who becomes tired of his routine homelife and falls into the waiting arms of Stanwyck, his lover from 20 years earlier. MacMurray's son (William Reynolds) eventually becomes suspicious of his dad's whereabouts and snoops around to find out exactly what is going on. And MacMurray's unintentionally neglectful wife (Joan Bennett) is completely oblivious to her husband's attraction to Stanwyck, as the flashy New York City designer."There's Always Tomorrow" is an interesting film in that it examines the dark-side of the 1950s nuclear family....something that Sirk had always been interested in. Stanwyck and MacMurray have an undeniable chemistry that is given new life after their 1946 classic "Double Indemnity". The performances shine, and many of the scenes are given classic Sirk touches (such as the reflection of the rain streaming down the window on Stanwyck's face, after her showdown with MacMurray's children). However, this movie adds nothing new to the routine formula, of the tempting female disrupting the lives of a happy family. Good overall, but it lacks a certain punch.
Savor
This film is one of the great Hollywood films yet so few have ever heard of. Not only does it rate with Douglas Sirk's better known films ("Magnificent Obsession," "All that Heaven Allows," and "Imitation of Life), but is as much a devastating a critique of the American Dream as other fifties movies like "Bigger Than Life." And unlike many melodramas which center on the emotional isolation and turmoil of the central female character, this one analyzes the pain of the main male figure (Fred MacMurray). The film's acting, direction, and script have a precision so well thought out that the effect--both at any given moment and overall --is absolutely astonishing. An incredible film crying out to be rediscovered.
