A struggling young actress with a six-year-old daughter sets up housekeeping with a homeless black widow and her light-skinned eight-year-old daughter who rejects her mother by trying to pass for white.
The story of a young woman, Helen Banning, who travels to Munich in search of life experience and romance. While working for America House, she meets a famous symphony conductor, Tonio ... See full summary »
In 1944, a company of German soldiers on the Russian front are numbed by the horrors and hardships of war when Private Ernst Graeber's long awaited furlough comes through. Back home in ... See full summary »
Clifford Groves, toy manufacturer, is in full charge at the factory but feels left out and taken for granted by his wife and children at home. Alone and depressed, he meets old flame Norma, and one thing leads to another. While their relationship is still fairly innocent, his son Vinnie sees them together and suspects the worst. It's time for tortured souls behind rain-streaming windows... Written by
Rod Crawford <firstname.lastname@example.org>
Near the end of the film, Cliff bumps the toy robot on the table, starting it walking towards the camera and he walks back to the shop window. The camera starts tracking forward and as the toy robot is walking forwards out of the shot, bottom left, the shadow of the camera falls across the toy robot. See more »
Norma Miller Vale:
Love is a very reckless thing. Maybe it isn't even a good thing. When you're young and in love, nothing matters except your own satisfaction. The tragic thing about growing older is that you can't be quite as reckless anymore.
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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.
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