According to later interviews with Robert Duvall and Writer Horton Foote, they had real difficulties working with Olga Bellin, who insisted on doing scenes entirely her way, and not listening to Director Joseph Anthony. Duvall and Foote vowed never to work with her again. Filmatically, this wouldn't have been a problem, as Bellin confined her work to the stage, and never made another film. She died of cancer in 1987. See more »
When Fentry first discovers the pregnant woman, he walks her into his house. He is on her left, but as they walk toward the building, he shifts to her right. See more »
I dunno why we met when we did, or why I found you when you was all wore out. I couldn't save you no matter how bad I wanted to. I dunno why you want me to raise this baby instead of your people. I dunno what they done to you to make you turn so on them. But I don't care, I promised ya I'd raise him, and I will. Like he was my own.
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Tomorrow is one of the finest movies I have seen. Duvall was excellent in this movie, and even he points back to this as his finest work in cinema (I read an article once in which Duvall said that this role was his "King Lear"). The story is simple but significant. The impact of it is substantial. It is not a movie for hard-hearted cynics. Although it is not sappy, and by no means is it over-the-top (understated is a much better description), the movie does require a man to peel back his macho veneer and and try to identify with a life situation many men may find almost ridiculous (or horrifying) in this day, i.e. a life of faithful love and service. As such, this film would not be a top pick of fans of "The Man Show", or anything on MTV, for that matter. It is a gutwrenching story of sacrifice and self-denial; in other words, it is a REAL love story that brings to mind the love of God for the unlovely.
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