Tomorrow

1972
7.5| 1h43m| en
Details

A lonely farmer takes in a pregnant woman and looks after her. After she gives birth, tragedy strikes.

Director

Producted By

Filmgroup Productions

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Reviews

BootDigest Such a frustrating disappointment
Actuakers One of my all time favorites.
Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.
Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.
dfwesley Just a wonderful performance by Robert Duvall who dominates the entire film. He reminded me a lot of Boo Radley in TO KILL A MOCKINGBIRD and though Boo didn't speak, his mannerisms were similar. Duvall's interesting accent struck me as being as much hill-billy as southern.Several minor things troubled me a little about the movie. I did expect Jackson (Duvall) to try to recapture the boy, and I was somewhat surprised by his acceptance of the seizure. The ending also was unexpected.Olga Bellin also did not appear unusually ill for a dying woman in my view either, though she did a nice job with her role. Nonetheless, this was a fine movie and the acting was just superb.
Steve Skafte Right off, there's a couple of real serious flaws about this film. First of all, Joseph Anthony's direction is very stage-bound, hard and harsh. Second, the acting is ridiculously over-the-top. Robert Duvall, who I've liked in just about everything I've seen him, gives such an affected performance that it's hard to read his character. The accents go all over the place. Olga Bellin and Duvall sometimes seem to be from the south, and sometimes somewhere else altogether. The dialogue throughout is too polite, too in turn, as if everyone waits to speak their lines. The storyline itself is ordinary, with neither enough character development or dramatic drive to make it at all compelling.There are good points. Allan Green does some very nice work with the cinematography. The harsh, stark wintertime images really settle you in the story. The atmosphere is believable and well-developed. If it wasn't how the performances so completely failed to convince, "Tomorrow" could have almost been a good film. I really wanted to like it, but there's just not enough here to like.
Chad This is a very fine William Faulkner adaptation set in circa 1910 rural Mississippi. Duvall fans, like me, should be thrilled to see and hear his masterful piece of humble and unpretentious acting. I must say there is a level of disappointment in reading the few negative or cursory reviews. I think one of the most overlooked elements in this film is the outstanding acting by Olga Bellin (Sarah). Frequent commentary of being cast too old is unfounded. Women in rural environments of this depicted era were a little worn around the edges. Sarah is actually quite beautiful in close ups, and she dispels any age related bias in the subtleties of her great acting. Where Duvall is masterful in delivering rural and colloquial dialog, Bellin equals the performance with outstanding facial expressions and body language. It is like having a window to her heart and mind. Together, they compelled me to care about them. In some ways, a nice motif on opposites attract. As for the purported, slow pace of this movie, I might just say life in the woods of Mississippi for 103 minutes did not seem too deliberate for me. This film is a very good and focused character study on love and loyalty. The monochromatic cinematography is appropriate and adequate. The on location, props and screen captures are great. Cinophiles should appreciate it. Despite some critics perceived B-movie imagery at times, this film has 4-star acting and a meaningful story.
michaelsjmurphy This movie predates some of Duvall's more critically acclaimed and popularly received turns, but in truth, this may be the finest acting job of his career. Duvall is this film, and he has made this kind of intense, honest character study his own (Tender Mercies, The Apostle, The Great Santini). The black and white cinematography is perfectly suited to the story and the acting. It works as a far more honest story-telling device than Spielberg's "Schindler's List." This is a must-see for Duvall fans and for fans of small, independent films as well.