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Between his twin masterpieces All That Heaven Allows and Written on the Wind, Douglas Sirk created this razor-sharp study of male crisis, both a glittering testament to love's labours lost and his most unforgiving vision of suburban conformity. Disregarded and neglected by his family, executive toy manufacturer Clifford Groves (Fred MacMurray) is unexpectedly reunited with his former co-worker Norma Miller (Barbara Stanwyck). As the old friends catch up on lost time, his children's suspicions and hostility to the new relationship threaten to push their father away permanently and throw into disarray the lives of all concerned. With crystalline, noir-tinged cinematography from Russell Metty (Touch of Evil) and heartbreaking performances by Stanwyck and MacMurray, reunited 12 years after Double Indemnity in their final on-screen pairing, There's Always Tomorrow finds one of Hollywood's greatest dramatists at his finest. *********SPECIAL FEATURES: --Beautiful high-definition anamorphic transfer --Days with Sirk, a 61-minute documentary from 2008 featuring rare interview footage with Sirk shot in 1982 --Original theatrical trailer --New optional English subtitles (SDH) for the hearing impaired --Original dialogue and continuity script (in PDF form) --Booklet featuring an essay by Andrew Klevans, excerpts from a 1977 interview with Sirk and rare production stills
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20 of 20 people found the following review helpful
Format:DVD|Amazon Verified Purchase
This is an overlooked gem by Douglas Sirk, a truly original and great director, who brought European subtlety and irony to the American melodrama and managed to convey deep emotions and social conscience within the conventions of Hollywood in the 40s and 50s. Fred MacMurray -here at his very best- manufactures toys and has ended up being himself a sort of toy in the hands of his proper and apparently ideal family. Just a provider for his wife and daughters and son, that totally ignore his needs and take him for granted. Caught in a hellish suburbian bliss, an unexpected encounter with an old friend from his youth, that secretly always loved him (magnificent Barbara Stanwyck), seems to give him a new lease on life. ¿But can he escape and find happiness with her, putting aside his familly? Sirk's alertness and fine direction, with a camera that makes meaningful every movement and every frame, carries the story with masterful hand to its ironic and deeply satisfying finale. Excellent transfer of the beautifully photographed b&w film. The interesting extras are plenty and the booklet meaty, as we have come to expect from this fine series by Eureka. Highly recommended.
7 of 7 people found the following review helpful
Format:DVD
I saw this movie as a kid and always remembered it but didn't understand why until I caught it, when an adult, on t.v. Even then I wasn't well versed in the movies of Douglas Sirk.
I now know that I saw many of his movies years ago,(but didn't connect them), and each one left an impression that still lingers. This film was probably his most intimate and, whilst understated: b&w photography, (not box office at that time...yet an example of superb cinematography - comparable to Sweet Smell of Success), about 'little' people - their regrets and dreams; it is actually an incisive analysis of the emasculation of the, (american/universal?), middle-aged male, taken for granted by his family - loved - yes but not known/understood/noticed by his children or busy wife.
This film could have been corny in lesser hands but wasn't and remains, 50+ years later, pretty relevant in it's theme and still isn't dated. Admittedly the opening credits are typical '50s melodrama and, when viewing it, it's not until about 10 minutes in you realise that this is not what you expected from what has just gone before.
This is undoubtably Sirk's masterpiece, (but you can argue over that), however it is the players that elevate Sirk's work to perfection.
Can anyone identify a performance of Fred MacMurray's that equals this? (His 'Double Indemnity' was brilliant admittedly; yet here he hits many more layers of humam emotion).
Barbara Stanwyck: probably the most versatile of american Hollywood actresses, gives us a masterclass performance here; she underplays, to absolute perfection, (saving the sparks until they really, really matter).
With 'The Lady Eve' & 'Double Indemnity' this is her finest performance.
I now know that I saw many of his movies years ago,(but didn't connect them), and each one left an impression that still lingers. This film was probably his most intimate and, whilst understated: b&w photography, (not box office at that time...yet an example of superb cinematography - comparable to Sweet Smell of Success), about 'little' people - their regrets and dreams; it is actually an incisive analysis of the emasculation of the, (american/universal?), middle-aged male, taken for granted by his family - loved - yes but not known/understood/noticed by his children or busy wife.
This film could have been corny in lesser hands but wasn't and remains, 50+ years later, pretty relevant in it's theme and still isn't dated. Admittedly the opening credits are typical '50s melodrama and, when viewing it, it's not until about 10 minutes in you realise that this is not what you expected from what has just gone before.
This is undoubtably Sirk's masterpiece, (but you can argue over that), however it is the players that elevate Sirk's work to perfection.
Can anyone identify a performance of Fred MacMurray's that equals this? (His 'Double Indemnity' was brilliant admittedly; yet here he hits many more layers of humam emotion).
Barbara Stanwyck: probably the most versatile of american Hollywood actresses, gives us a masterclass performance here; she underplays, to absolute perfection, (saving the sparks until they really, really matter).
With 'The Lady Eve' & 'Double Indemnity' this is her finest performance.
5 of 5 people found the following review helpful
Format:DVD|Amazon Verified Purchase
"There's Always Tomorrow" is one of Douglas Sirk's bleakest films and it presents the tragic fate of Fred MacMurray and Barbara Stanwyck, two middle aged characters thrown together in their mutual isolation. At just 80 mts the film, powerfully photographed in monochrome by Sirk's favourite camerman Russell Metty,communicates perfectly the pain of frustrated love and equally frustrated lives. Offering no easy solutions, its ending is uncompromising and almost Bergmanesque in its brutality. A minor work undoubtedly but certainly a powerful one too. As an added bonus, as well as the trailer, there is an excellent hour long documentary about this important film maker which finally answers many of the questions which critics have speculated about for a generation. Why does he really employ so many mirrors? How does he use colour? Why did he shoot "Tarnished Angels" in black and white? Why all those staircases and impressively positioned screens shadows, in his mise en scene. The DVD provides an outstanding print,excellently re-mastered and in the correct ratio too.... What more can we ask for?
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