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I'll Cry Tomorrow (1955)

Passed  -  Biography | Drama | Music  -  25 December 1955 (USA)
7.4
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Ratings: 7.4/10 from 1,113 users  
Reviews: 23 user | 12 critic

Deprived of a normal childhood by her ambitious mother, Katie, Lillian Roth becomes a star of Broadway and Hollywood before she is twenty. Shortly before her marriage to her childhood ... See full summary »

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(screenplay), (screenplay), 3 more credits »
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Title: I'll Cry Tomorrow (1955)

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Won 1 Oscar. Another 1 win & 5 nominations. See more awards »
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Cast

Complete credited cast:
...
...
Tony Bardeman
...
Burt McGuire
...
Katie Roth
Don Taylor ...
Wallie
...
David Tredman
Margo ...
Selma
...
Ellen
...
Jerry (as Don Barry)
David Kasday ...
David as a Child
Carole Ann Campbell ...
Lillian as a Child
Peter Leeds ...
Richard
Tol Avery ...
Fat Man
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Storyline

Deprived of a normal childhood by her ambitious mother, Katie, Lillian Roth becomes a star of Broadway and Hollywood before she is twenty. Shortly before her marriage to her childhood sweetheart, David Tredman, he dies and Lillian takes her first drink of many down the road of becoming an alcoholic. She enters into a short-lived marriage to an immature aviation cadet, Wallie, followed by a divorce and then marriage to a sadistic brute and abuser Tony Bardeman. After a failed suicide attempt, Burt McGuire comes to her aid and helps her find the road back to happiness after sixteen years in a nightmare world, not counting the first twenty with her mother. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

She fell from fame to shame! See more »

Genres:

Biography | Drama | Music

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

25 December 1955 (USA)  »

Also Known As:

Und morgen werd' ich weinen  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

In its poster art for the film, MGM proclaimed that "Susan Hayward Sings" -- in a similar vein to the studio's earlier "Garbo Talks" slogan for Anna Christie (1930). See more »

Goofs

When Susan is giving her "I'm a drunk" speech in the bar (at around 1h 16 mins) the woman she has accosted suddenly turns into a man in a dark suit. See more »

Quotes

[alcoholic Lillian is desperate for a drink - mother drops the glass bottle on the floor, shattering it]
Lillian Roth: OH! Look what ya did! And ya DID IT ON PURPOSE! You're still trying to make me do what you want, to be what you want! I can't be anything except what I am! Look, look what did you drop that bottle for? What are you trying to do, drive me crazy? Go on, GET THE BOTTLE! GET IT NOW!
Katie Roth: All right! All right! All right, it's my fault, huh? I made you become an actress, you didn't want to, all right. ...
[...]
See more »

Connections

Featured in MGM Parade: Episode #1.11 (1955) See more »

Soundtracks

When the Red, Red Robin Comes Bob, Bob, Bobbin' Along
Written by Harry M. Woods (uncredited)
Sung by Susan Hayward (as Miss Hayward)
Arranged and conducted by Charles Henderson (uncredited)
Brief reprise in a medley montage by and Eddie Albert (vocal and piano) and Susan Hayward (vocal)
See more »

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User Reviews

 
Fascinating but overwrought performances...
14 June 2006 | by (U.S.A.) – See all my reviews

SUSAN HAYWARD has some strong, searing scenes full of fireworks in I'LL CRY TOMORROW--as does JO VAN FLEET as her overbearing stage mother--but there are times when you just wish Daniel Mann would keep the theatrical melodramatics a bit more under his control.

The story of a confessed alcoholic singer is an unpleasant one and this is all the more reason why a little soft pedaling now and then would have helped. As it is, Mann has chosen to pull out all the stops and give us a saga of grim and unrelieved suffering for too lengthy a time.

All of the performances are respectable enough--including EDDIE ALBERT and MARGO as a couple who try to help the alcohol addicted Roth back on her feet again after an attempt at suicide forces her to go to the AA clinic. And Hayward does well by the songs that Roth supposedly performed in nightclubs, using her own voice and gestures she undoubtedly picked up from Jane Froman, whose biography she also did on screen a bit earlier.

A toning down of the shrill melodramatics would have helped--but, nevertheless, this is a frank and disturbing portrait of a woman on the skids and Miss Hayward does her best to give a convincing portrait.


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