There's Always Tomorrow (1956) User Reviews

A 1950s midlife crisis by Douglas Sirk

[blanche-2 · 8/10 · 9 May 2013]

Fred MacMurray, Barbara Stanwyck, and Joan Bennett star in "There's Always Tomorrow," directed by Douglas Sirk and featuring William Reynolds, Gigi Perreau, Judy Nugent, and Pat Crowley as the young people.

MacMurray is a successful toy developer, Clifford Groves, married to Marion (Bennett), and they have three children (Reynolds, Perreau, and Nugent). Marion is preoccupied with the kids and the household, while MacMurray is longing for some alone time with her and to do something different - take a weekend off, go to the theater -- but something always happens that prevents it.

When Marion can't make a theater performance because of their daughter's dance recital, Cliff stays home alone. A woman who once worked for him, Norma Vale (Stanwyck) comes over to say hello. She's now a successful dress designer in from New York. He takes her to the theater instead, and then she asks to see his office.

When a planned weekend in the desert with Marion doesn't work out because one of the girls breaks her ankle, Marion insists that Clifford go without her and relax. There, he runs into Norma again. Unfortunately, his son (Reynolds) shows up and thinks Cliff and Norma are involved. He and his friends leave without making their presence known to his dad. Without realizing what's happening, Cliff is falling for Norma; and he doesn't know that she's always been in love with him.

This is a midlife crisis, '50s style, with the underpinning of the grass is always greener. That wasn't the original intention, of course - the original intention of the film is that Norma is lonely and would give up her wonderful career to have a family like Marion and Cliff have. People still feel this way, but today, it's more because of the road not taken, not so much because of dissatisfaction. Nothing's perfect, as the film shows us. Cliff sees Norma's freedom, the attention she pays him, her interest in his work. He feels in fourth place behind the kids to Marion. He's sick of being like the robot that is his latest toy. You wind him up, he works, he comes home, he has dinner, he goes to bed. With Norma he sees an opportunity for something different. Youth. To be put first. Endless possibility.

What a lovely movie, and I thought I was sitting down to some second feature. Instead, it has Sirk's magic touch and his sly criticism of the picture-perfect '50s American life. Frankly, I could have slapped the kids and Marion for not seeing what's in front of their faces, but to be fair, kids are self-involved, and Marion is completely committed to doing what she thinks is important for Cliff and their family.

Wonderful acting, with MacMurray as the frustrated Everyman, Bennett as an attractive, disciplined woman, and Stanwyck has someone who has earned wisdom the hard way, through hard work and disappointment.

Highly recommended.

Soapy Film is Greatly Aided by MacMurray and Stanwyck

[mrb1980 · 7/10 · 9 April 2010]

While I don't believe that "There's Always Tomorrow" is a masterpiece, it's a good movie whose quality lies not in the sudsy story, but in the professional work of the director and cast. Watching it seems to take the viewer back to the mid-1950s, a time of prosperity, formality, and rigid conformity, with husbands earning the money and mothers raising the kids. It's also fascinating to see a U.S. toy factory, something that disappeared years ago, and to see everyone wearing suits and dresses at ordinary dinners.

The story is about Clifford Groves (Fred MacMurray), a hardworking owner of a toy factory in LA. He's a top breadwinner for his wife (Joan Bennett) and three kids, who take Clifford for granted and pay very little attention to him. Out of nowhere old flame and successful fashion designer Norma Miller (Barbara Stanwyck) comes into his life and sorely tempts Grove, who ponders his dreary home life and considers an affair with her. When Clifford and Norma spend a few days together at a resort in the California desert, the Groves kids become suspicious. The poignant ending has Norma breaking off the relationship and leaving on a plane while Clifford re-evaluates his family life. Because of a blistering lecture that the kids have received from Norma, the family now appreciates Clifford a little more.

The story is pretty ordinary, but the stylish direction (by Douglas Sirk) and powerhouse acting by MacMurray, Stanwyck, and Bennett are so good that they bring the script to vivid life. In particular, the old chemistry between MacMurray and Stanwyck (as in "Double Indemnity" and "Remember the Night") is just irresistible. The B&W cinematography is also excellent. William Reynolds is good although rather strident in a crucial role as Clifford's son Vinnie Groves, and the acting of the other cast members is tops. This film's not on television very often (I last saw it on AMC and taped it over 10 years ago) so keep an eye open for it; it's worth the effort.

Classy drama for the Double Indemnity pair

[jjnxn-1 · 8/10 · 13 October 2013]

Stylish drama acted expertly by super professionals. The powerful duo of Stanwyck and MacMurray excel when paired together and this is a fine example of that. Sadly this film is somewhat obscure, a shame since it really does examine in simple terms the crisis a man faces when he realizes he has fallen into a rut without being aware of it. Another winner from Sirk and perhaps even better then some of his more renown films, which are certainly enjoyable if sometimes over the top and a little lurid, since this drama is muted and closer to real life. The problems the film examines seem rooted in the 50's consumerism but by looking a little deeper they are revealed to be universal and timeless issues. This was the final pairing of Barbara and Fred, all their collaborations are worth watching, although The Moonlighter is rather sketchy, but this is the only one showing them as a mature pair and it's a pity they didn't have a chance to make perhaps one more when they had reached old age since they brought out the best in each other.

Sirk's most overlooked movie - certainly amongst his best

[grahamclarke · 10/10 · 23 February 2003]

Douglas Sirk is renowned for injecting his subversive criticism of American society of the fifties in his glossy and glamorous melodramas. What made this palatable to the public, who flocked in droves, was the fact that the families involved were showbiz families ("Imitation of Life"), filthy rich oil magnates ("Written in the Wind") or highly idealized to the point of caricature ("All that Heaven Allows", "Magnificent Obsession"), far from the average movie goers own social milieu. And of course up there on the screen were the glamorous stars, Rock Hudson, Lana Turner, Lauren Bacall, Dorothy Malone, etc. Movie fans will recall the aforementioned movies when the topic of Sirk's movies arises. It is highly unlikely that "There's Always Tomorrow" will get a mention. "There's Always Tomorrow" has barely any gloss or glamour. The social criticism is completely without disguise. The family in question is one that the vast majority of movie goers could very easily identify with. Its stars (Fred MacMurray and a not so young Barbara Stanwyk) are not glamorous. While audiences left the cinema entranced by the glorious melodrama of "Imitation of Life" and "Written on the Wind", they would have left "There's Always Tomorrow" feeling a lot less secure about their own lives, since it's a film that touches on a fair amount of "dangerous" territory, calling into question the very foundations of the American family. Douglas Sirk's sense of irony has never been sharper. The title brims with optimism and the film opens with the script, "Once Upon a Time in Sunny California". But what unfolds is a bleak, pessimistic depiction of middle class family life.

While Sirk's films have often been branded "woman's pictures", "There's Always Tomorrow" is indeed very much a man's picture. It takes a hard and deep look at the role of the male breadwinner and the picture it comes up with is not a pretty one. What we are shown is a man who when young, courted the prettiest girl, married, had children and worked hard to build up a successful business. He is now middle aged and having achieved it all, begins to feel himself taken for granted by his wife and children. His needs are completely neglected. His wife has little interest in him sexually being totally wrapped up in fulfilling the unending needs of their self centered ungrateful children. It's a scenario all too familiar to millions of men. Fred MacMurrays's Clifford Groves has become a robot similar to the one his successful toy manufacturer has created. No wonder that Norma Vale's (Stanwyk) reappearance in his life presents an opportunity to regain his lost dreams. She's an independent career woman, who sees his situation as somewhat idyllic from the outside. But with the usual intelligence of a Stanwyk character, she has no illusions as to a possible future with him. Despite the brief and obligatory conciliatory ending, Clifford Groves' future does not bode well. It should come as no surprise that the film was not well received at the box office.

"There's Always Tomorrow" has many of the hallmarks of Sirk's craftsmanship. The studio refused to grant him his request for the film to be shot in color, despite having provided Universal with some of its highest grossing pictures of the decade. At least his demand for his favorite cameraman Russell Metty was granted. Metty as always, was the perfect partner in realising Sirk's vision. His interior filming in particular is a lesson in cinematography. He had a penchant for shooting characters behind banisters, framed in mirrors and caged behind fences to enhance the sense of their being trapped. MacMurray and Stanwyk are constantly gliding through dark shadow and bright light reflecting the inherent brightness and darkness in their lives.

At this point of writing "There's Always Tomorrow" has not been released in any format and rarely gets a showing on television. It's a gross injustice to an extremely important director and a wonderfully made, moving piece of cinema.

An outstanding hidden treasure waiting to be rediscovered.

[Savor · 10/10 · 21 January 1999]

This film is one of the great Hollywood films yet so few have ever heard of. Not only does it rate with Douglas Sirk's better known films ("Magnificent Obsession," "All that Heaven Allows," and "Imitation of Life), but is as much a devastating a critique of the American Dream as other fifties movies like "Bigger Than Life." And unlike many melodramas which center on the emotional isolation and turmoil of the central female character, this one analyzes the pain of the main male figure (Fred MacMurray). The film's acting, direction, and script have a precision so well thought out that the effect--both at any given moment and overall --is absolutely astonishing. An incredible film crying out to be rediscovered.

Clifford the Robot Man

[wes-connors · 7/10 · 7 August 2013]

Pasadena toy manufacturer Fred MacMurray (as Clifford "Cliff" Groves) is wealthy and successful, but feels neglected by his busy family. His children are preoccupied with their own lives and loving wife Joan Bennett (as Marion) always finds herself committed to something other than time with Mr. MacMurray. He feels ignored, unappreciated and lonely. Enter former employee Barbara Stanwyck (as Norma Miller-Vale). Formerly plain, but now an attractive dress designer, Ms. Stanwyck arrives in Los Angeles on business. She's clearly interested in rekindling something with MacMurray...

The best part here is that "There's Always Tomorrow" has director Douglas Sirk working in the 1950s, with his best photographer Russell Metty. This means artful shadows, stairways, windows and reflections. Such visuals, especially as they complement the story, are great. There is even a scene with Stanwyck's face shedding tears that are actually reflected raindrops; a technique said to have originated with "In Cold Blood" (1967). Quite possibly, this was done even earlier...

The cast is strangely unimpassioned. MacMurray and Stanwyck lack the level of spark they conveyed in previous collaborations. Perhaps this is the point. MacMurray has become like the toy robot he created. He's "Rex" the walkie-talkie mechanical man. Stanwyck appears to be hesitating an attempted seduction. While not the protagonist, she becomes the most interesting character. Completely and most maddeningly in the dark, Ms. Bennett acts robotically unaware of the threat to her supposedly perfect family life. Shaking things up is suspicious and literate son William Reynolds (as Vinnie).

******* There's Always Tomorrow (1/20/56) Douglas Sirk ~ Fred MacMurray, Barbara Stanwyck, Joan Bennett, William Reynolds

It's nearly criminal that this has not seen a re-release, a hidden gem in Sirk's filmography

[hereontheoutside · 9/10 · 25 July 2007]

Virtually unknown among Sirk's catalog, which is reasonably when you consider his classic films like 'All That Heaven Allows' and 'Imitation of Life.' But for a film this good to have not seen a DVD release is criminal. I had the good fortune of being able to see this gem at a public screening this week. This is easily one of the best films to come out of the studio era. The film concerns Clifford Grove (Fred MacMurray) a toy developer, whose family neglects him. His wife bails out on their plans constantly, for the children, and the children pay no attention to their loving father. Clifford runs into an old flame, who is back in town and begins to innocently spend some time with her while she's in town. But his sneaky children become suspicious of his activities and start to follow him, his son begins to convince his siblings that their father is having in affair. Their begin to psychological torment their father and ultimately drive him to desire leaving his family. It's painfully dark, and Fred MacMurray is brilliant. The psychological effect on the viewer is tremendous. It's dark and hopeless. If children were shown this on the advent of puberty, no one would ever get married. The stark black and white cinematography is always telling more than the story, with sneaky, sweeping pans and dollies the film keeps you guessing the duration. It's the kind of backhanded studio film, that was rarely produced, where the director gives the audience only ambiguities for resolution, cyclical images void of hope for Clifford, but ambiguous enough to get by censors at the studio, enough to imply that maybe things turned out for old Clifford. This is studio-era cinema at it's best. If you get a chance to catch a screening of it on the new 35mm that is, supposedly, circulating art-house cinemas around the U.S., go. It's a shame that it is not more widely available, a radiant film from the 50s (though troubled and moderately sexist, symptomatic of the time period, but not so blatant that it can't be overlooked in the same way that critics can overlook the racism in 'Birth of a Nation').

Sirk at his best

[Jim West · 30 April 2000]

Sirk aptly deals with basic family values and problems in a critical way, questioning the false appearance of stability and harmony of a typical American home. MacMurray's job in a toy factory provides plenty of interesting metaphors, often visual ones. In one scene Sirk even places 'Rex, the Walkie-Talkie Robot-Man' on the foreground, upstaging MacMurray and forcing a comparison between them. MacMurray's home, under the resemblance of a happy and harmonious family life, really seems like a big doll's house – MacMurray being here a sort of male 'Nora'. The happy ending seems a bit awkward or phony, but it's what audiences were taught to expect back in the 50's; no other ending would have been allowed under the infamous Production Code, then still being enforced.

Serious drama with outstanding performance by Fred MacMurray

[vincentlynch-moonoi · 7/10 · 10 May 2013]

I'm a little surprised with the relatively high rating this film gets from of IMDb reviewers. If someone were to say to me that movies should realistically depict life, then I'd point them toward this film, which has none of the punch that many Douglas Sirk films had. And the reason that punch is missing is because it's a psychological drama that fits real people. That shouldn't be a bad thing...and it isn't here. It's just that this is a very serious drama, but not an exciting one.

The strength of this film is the acting of the lead players. I often curse "My Three Sons", MacMurray's popular television series...because it is how MacMurray is most remembered, rather than for the very fine film career he had from the later 1930s through the late 1950s...in both comedies and drams. And, though he was beginning to show his age here (certainly middle aged...but he was nearing 50), that was the perfect age for anyone to play this role...because the role is of a man in mid-life crisis. And he does exceptionally well and without any histrionics...it's all inside, but we get to see it very clearly. It's definitely MacMurray's movie, but Barbara Stanwyck is wonderful here as the "other woman" who really has no intention of being the "other woman". Stanwyck's best scene here is where she carefully tells off MacMurray's snooping children. Joan Bennett, who is lovely here, is the wife who takes her husband for granted and is a subtle nagger.

That's not to say all the performances here are superb. As for the young actors playing the children...yuck. Judy Nugent has to have one of the most annoying voices of any child actor. In terms of William Reynolds, the son, I couldn't tell if it was his role that was annoying, or his acting. And, the children and young people here are absolutely key to the plot, so you see a lot of them. I give much higher grades to the girlfriend of the son -- Gigi Perreau. Unfortunately, veteran character actor Jane Darwell is totally wasted here as an older maid.

This is a very restrained film with solid acting by the lead roles. It doesn't have the intense excitement of many of Douglas Sirk's other films, but it is also more realistic than those other films.

Recommended for the serious film-goer.

Wrong said Fred

[Lejink · 8/10 · 24 December 2018]

Yet another impressive Douglas Sirk melodrama centring on the contemporary American family and in this particular film the American husband / father figure. Most of the Sirk movies I've seen seem to put women at the heart of the action but here the emotional crisis is thrust upon Fred MacMurray's toy salesman, a conventional, dutiful husband and father to his three growing children, one boy on the verge of adulthood, one daughter in her late teen, mildly rebellious years and another somewhat childish younger teenager. His wife, played by Joan Bennett, seems preoccupied with the needs and wants of these rather selfish children to the point where she seems ignorant of the effect the cumulative family disinterest is having on his emotional needs.

Just as he's feeling especially insignificant along comes old flame Barbara Stanwyck in her third fine film with MacMurray to fan the sparks of his mid-life crisis into a full-blown blazing passion, to the extent where he has a secret if accidental weekend away with her and quickly comes to contemplate leaving his family for a life of excitement with her. Which way will he turn and what part will his two mortified older children, who in typical Sirkian grand coincidental fashion, learn of his plans, play in his final decision?

Once again, Sirk brings family members to a crisis-point and even if the resolution this time takes a conventional course, still there's real drama in these excellently crafted and written scenes of anything but cosy domesticity. Cynics may make sneering remarks about all this amounting to shallow soap operatics but I think they would be wrong. Post-War Western and especially American society was evolving even against the "I Like Ike" background of greater personal wealth and the growth in consumerism but just under the surface it wasn't all sweetness and light and Sirk was one director who caught that change in attitudes in his mid-50's work.

Once again MacMurray surprised me with the depth and roundedness of his performance as a middle-aged man cornered by society's expectations of him while Stanwyck in one of her last major roles before she, like MacMurray a bit later, turned to TV, is as good as she usually is as the unwitting Eve in Fred's supposed Garden of Eden. Her character of a flamboyant, self-confident, but importantly unmarried career-woman is equally worthy of deeper investigation as MacMurray's worm-turning Mr Suburbia.

Lesser known than other Sirk dramas of the decade it's as good as any of them in my opinion and well worth watching.

Toy Story

[writers_reign · 7/10 · 11 December 2007]

So much for that well-known 'woman's intuition'; we, the audience, can see inside reel #1 that Fred McMurray is disappointed in his domestic life which consists of self-centered children and a wife who indulges them even if it means neglecting the husband/bread-winner yet the wife in question, Joan Bennett is serenely oblivious to what amount to McMurray's cries for help. He is portrayed as a husband to die for, thoughtfully preparing a surprise for his wife's birthday which is more or less thrown in his face because the selfish needs of the children come first. McMurray is a toy manufacturer and Sirk gets lots of mileage out of the metaphor; McMurray toys with the idea of leaving wife and family, as does the 'other woman', Norma Vale (Barbara Stanwyck), who turns up out of the blue and past respectively just when McMurray is at his most vulnerable yet ultimately Norma merely toys with his feelings. It's difficult to believe that Sirk made this soft-hitting soap back-to-back with the hard hitting Written On The Wind and it is perhaps understandable that this one got lost in the shuffle. Like McMurray it has been unfairly neglected and is well worth seeking out.

There's Always Tomorrow

[zachary6290 · 10/10 · 13 January 2016]

I can not stand Vinny's character. He is so "full of himself." The youngest daughter Frankie drove me crazy with her whining!

Excellent performances by Stanwyck, MacMurray, and Bennett. This is one of the last movies Stanwyck and MacMurray made together, she was as beautiful in this movie as in any of her 1940's movies. She's timeless and such a wonderful actress. For those of you who really like Fred, and want a real treat... Check out the movies "Miracle of the Bells," and "Suddenly it's Spring!" Fred Mac Murray and Barbara Stanwyck were such underrated actors/actresses of their time. Joan Bennett plays her part so well you understand why the household is the way it is. Great love story, if you can get through the kids!

Heaven does not allow everything.

[dbdumonteil · 7/10 · 21 November 2007]

Coming,in Sirk's career ,just after "All that Heaven allows" ,it looks like its twin movie.Unlike "Written on the wind" or "Imitation of life" or "Magnificent obsession" ,it's not melodrama.It's closer to realistic psychological drama.More than the lingering charm of a romantic past (Blue Moon/You saw me standing alone/Without a love of my own),Sirk focuses on the selfishness of the children.Remember in "All that Heaven..." how the son and the daughter could not admit that their mother (of the upper class) should fall in love with a gardener and how they bought her a TV set where she only could see the reflection of her loneliness.Here the boy's attitude is not far from that: a spoiled child -as his sisters are- ,only concerned by his studies and his love affair,he does not care if his papa has become a nine-to-five man ,useful only for the dough he brings home,a life no more exciting than that of the toy robot he sells.Barbara Stanwyck 's role recalls the 1953 effort "all I desire" : the return of the woman,be she legitimate or a former flame.But in "there's always tomorrow",one can notice one of the permanent features of melodrama though: the woman who turns her back on love and becomes a successful businesswoman (or star) (see also the end of "written on the wind" "imitation of life" or Stahl's "only yesterday")

Infidelity from the kids' perspectives

[HotToastyRag · 5/10 · 3 November 2018]

There's Always Tomorrow tackles the subject of infidelity from a different angle: from the perspective of children who are old enough to know what's going on. Fred MacMurray and Joan Bennet have three children who still live at home. The two oldest, William Reynolds and Gigi Perreau, are teenagers and can understand the symptoms when Fred starts taking interest in another woman. Do they confront their father, tell their mother, or keep silent? If those questions interest you, you'll probably enjoy this movie.

Fred, ignored at home and frustrated by the everyday rut, meets up with an old flame Barbara Stanwyck by chance. They spend a plutonic weekend together, and while it's all innocent at first, Fred's kids get the wrong idea. It's a thoughtful story and an interesting script, and it's fun to see Barbara and Fred together on the screen again. Since this movie was made in the 1950s, though, you can probably guess there's a bit of a bias in favor of the family unit, rather than running away and finding yourself" as is the theme in many modern movies.

An under-rated gem. Stanwyck is superb.

[proud_luddite · 9/10 · 19 December 2018]

In Southern California, Cliff (Fred MacMurray) is a successful toy manufacturer but at home, he feels neglected and taken for granted by his wife (Joan Bennett) and three children - two of whom are teenagers. Norma (Barbara Stanwyck) is a former colleague and friend who pays a visit after many years away. The two lonely souls strike a solid companionship but the film asks the question: will there be more than just friendship?

While watching this film, it's often tempting to expect a formulaic story and guess where it will go next. But, as written by Bernard Schoenfeld (based on a story by Ursula Parrott), it often goes in a different direction. When it does veer in predictable territory, it still does so with some unexpected surprises.

It helps to have the solid direction of Douglas Sirk ("All That Heaven Allows" (1955), "Written on the Wind" (1956) and "Imitation of Life" (1959)) as well as a solid cast. MacMurray is superb in a role rarely shown on screen - a neglected patriarch who feels the hurt. But Stanwyck is truly at her best (which is saying a lot) in a multi-layered role.

At the beginning, she shows true charm, class, and charisma as someone so well-mannered and entertaining, one would want to be in her presence at any gathering. As a successful fashion designer, she's almost comical in a scene of being in such demand for time at her office that she ends up snapping at everyone. In the later dramatic scenes, she shows her true power especially during a conversation with Cliff's teenage children. This performance matches what is likely her best - in "Stella Dallas" (1937).

It makes one yearn for the times in Hollywood when experienced actresses over forty got roles that showed their best. Those days may be gone for now but at least films like this are great reminders of a great era. - dbamateurcritic

OUTSTANDING ACHIEVEMENT: Acting by Barbara Stanwyck

Sensitive drama

[lora64 · 9/10 · 2 December 2001]

It's always a pleasant surprise to encounter an 'oldie' movie such as this. As for first impressions, I have the feeling it's an idealist's wished-for 'dream of a perfect world and perfect people' that never quite comes true, unfortunately, for many in real life. At times the story seemed a bit too melodramatic and predictable at every turn yet even so I enjoyed it

Barbara Stanwyck as Norma is always able to carry a dramatic role superbly. Fred MacMurray as Clifford certainly does give a true rendering of a situation many married men find themselves in sooner or later, of facing middle age and the feeling of being boxed in on all sides.

Well worth adding this one to your collection.

Stanwyck and MacMurray together again....

[boy-13 · 6/10 · 9 October 1999]

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.

We Always Have Stanwyck and MacMurray

[JLRMovieReviews · 9/10 · 9 March 2010]

Fred MacMurray and Barbara Stanwyck reunite after "Double Indemnity" and "Remember the Night" to star in this great unknown film, which is another Ross Hunter-produced and Douglas Sirk-directed picture.

Joan Bennett is Fred's wife and mother of his three children. But he is missing something, because her children are her world and they are in their own world, always taking. So when old friend Babs shows up, he spends time with her, only to fall in too deep. Unbeknownst to them, his oldest son joins him on a business trip. But, his client cancelled, leaving only Babs there to entertain Fred (who, yes, just happens to be there). The son sees them together laughing and jumps to conclusions. He promptly leaves not telling his father what he's seen. But, nothing ever happened! But the son, played by an actor I don't know, goes ballistic.

The only problem I have is that the actor seems to get a little over-the-top. But, then again it is his strong reaction which is the catapult of all that happens later in the film.

What makes this exceptional is a well-written and intelligent script and Fred and Babs' credible acting and chemistry. Man, that Stanwyck could act! She could act the arms off a chair! The scene where she chews the children out and the scene where she tells Fred that they could never be, are highlights. This film makes me want to watch nothing but Stanwyck's movies for a month!

The title is a little misleading, though. It's obvious they mean that in "another time, another place" it could have happened and he and Babs could have been together. But with Fred a family man, the viewer is expecting him not only to stay with his family, but to really want to and not feel miserable doing for them.

That notwithstanding, if you've never heard of this movie, you need to find it immediately. But, you won't regret it. We always have Stanwyck.

Capable Soap Opera

[roberts-1 · 6/10 · 9 May 2002]

Typical soap opera by director Douglas Sirk (albeit less glossy than his earlier technicolour offerings of "Magnificent Obsession" and "All That Heaven Allows", and certainly less well-known). Having read the comments posted by other viewers about this film, I must confess that I don't quite share their enthusiasm. Although generally well done (and nicely filmed in black-and-white), "There's Always Tomorrow" really offers nothing special in terms of the story line (hard-working, successful businessman Fred MacMurray feels neglected by wife Joan Bennett and their three children, meets old flame Barbara Stanwyck, considers having an affair). However, the film does move along at a good pace, and will certainly hold your interest. The children's perspective of the situation (particularly grown-up child William Reynolds, the oldest of the three) is well presented. The lead roles are very capably acted by old pros MacMurray and Stanwyck, but their re-teaming hardly compares to the dynamic fireworks they displayed in their earlier film, the undeniably great "Double Indemnity". All in all worthwhile, but I wouldn't rank it amidst the classics.

MacMurray & Stanwyck: A great duo

[keylight-4 · 8/10 · 5 March 2007]

Cliff Groves (Fred MacMurray), a toy manufacturer, has been married for about twenty years to Marian (Joan Bennett), who now takes him for granted and gives most of her attention to their demanding children, leaving Cliff feeling unloved and unappreciated and ripe for an affair with old flame Norma Vale (Barbara Stanwyck), a successful fashion designer.

I really enjoyed this movie, despite its somewhat heavy-handed depiction of Fred MacMurray's unhappy home life, and the casting of the awful Joan Bennett. Joan Bennett seemed near-comatose in every film I ever saw her in, with no more facial or vocal expression than a turtle. How did she ever get even one acting job? Barbara Stanwyck looked great, and Fred MacMurray was as attractive as ever. Ever notice what a good build he had? He was very athletic in his youth, and stayed in good shape. Joan Bennett, however, was the dullest actress in movie history. I don't approve of adultery, but I felt so sorry for Cliff, having that boring, dim-witted lump for a wife, and those thankless brats for children, that I wouldn't have blamed him if he had ditched them all for the glamorous yet down-to-earth Norma Vale. Marian lives only for her children, and when Cliff tries to talk to her about his loneliness and hurt at always taking second place to the kids, she makes light of his feelings with some condescending and witless comments that made me want to choke her.

The scene where Cliff tries to get Norma to run away with him is well-written and believable. Norma, distraught, tells him they have to face reality, that he'll still want to see Marian (although why he would ever want to see Marian again escapes me), and that if he marries Norma, he would shame his family, be alienated from his children, etc., etc. The ending of this movie is very unsatisfying. Norma goes back to New York to her life and career, and we see her sitting alone on the plane, heartbroken & crying. Cliff gazes up from his living room window at Norma's plane flying overhead, then turns and walks away, at which point Marian materializes beside him and takes his arm, saying something like, "You haven't been yourself lately", to which Cliff replies, "I'm all right now". Then he tells Marian fondly, "You know me better than I know myself". WHAT??? Marian has been ignoring the poor man for years and is patronizing and totally insensitive to his feelings, but now we're supposed to believe that good ol' Cliff has come to his senses and all is well. I taped this movie off of AMC about ten years ago, and I remember the host of the show saying that originally, the movie did not include this preposterous, tacked-on ending. The emotional scene where Norma forces Cliff to face reality about the hopelessness of their situation was originally supposed to be the final scene, if I remember correctly. Norma flees, and Cliff is left standing alone and dejected in his office workshop, while in the foreground we see "Rex the Walkie-Talkie Robot Man" walking to the end of the table and falling off the end. Rex was the obvious symbol for Cliff. This ending was deemed too depressing, or something, so the writers were forced to add the ridiculous and false scene with Marian.

Watch this movie when you get a chance, but try to picture somebody else in the Joan Bennett role.

What kind of indemnity with this example of double trouble?

[mark.waltz · 6/10 · 8 April 2016]

Likable people get into a predicament that only mature adults can understand. Hollywood good guy Fred MacMurray takes on the two greatest film noir femme fatale of the 1940's, one of them his old scheming partner, Barbara Stanwyck. Wife Joan Bennett is more the woman in the nursery than the woman in the window, too busy with raising three children than acknowledging her husband MacMurray's desire to share her birthday with her. With the kids and even the housekeeper too busy to go to the theater with him, he is more than willing for companionship when old flame Stanwyck shows up. The evening out moves to a weekend away with her, and even though it seems even to the audience to be totally innocent, oldest child William Reynolds suspects more. An evening with Stanwyck with the family makes him certain that what he suspects is true, while Bennett's innocent emotional neglect of MacMurray makes him consider his options.

A remake of a 1934 romantic melodrama, this is just one 30's classic that Ross Hunter dusted off, scrapping off the moth balls to bring it up to date. It's nice to see two of my favorite Brooklyn gals, Stanwyck and Bennett, together, and it is ironic that as similar as they were in the 1940's, I couldn't imagine them switching roles.

Jane Darwell is the earthy housekeeper, while Pat Crowley is Reynolds's wise girlfriend who tries to get him to see reality. Ironically, Stanwyck's ex-husband, Robert Taylor, played the son in the original. The scene with Reynolds and Gigi Perreau confronting Stanwyck about the alleged affair is exactly the same as the original, but in retrospect, it is as dated as "Back Street" which had a similar scene. That alone gives credence to the line in a Mel Brooks song that asks, "Could it be real or Fanny Hurst?" This is not anything remarkable, but the three stars try to bring something smart to something so formula. These are the types of parts that the stars could play in their sleep. It lacks the color of Ross Hunter's other soap opera remakes, but somehow, that doesn't seem to be missing here.

"The children always mean more to you than I do...."

[planktonrules · 9/10 · 26 April 2020]

I am very surprised I never have seen or heard anyone talking about "There's Always Tomorrow", as it's one of Fred MacMurray's and Barbara Stanwyck's better films...as well as that of the director, Douglas Sirk. It's a very intelligently written and important film...one I highly recommend.

When the story begins, businessman Cliff Groves (MacMurray) arrives home from work. He's gone all out...buying his wife tickets for a show she's wanted to see. However, the wife (Joan Bennett) insists she cannot go...as their daughter has a dance recital. Cliff is disappointed...but so's life.

Later, Cliff talks to his wife about going on a weekend outing together without the kids in order to relax and have some romance. Once again, however, the wife at the last minute cancels on him....though the reasons seemed pretty unimportant compared to the dance recital. Obviously, Cliff is feeling neglected.

The wife insists that Cliff go on the weekend outing...which he does. However, once at Palm Desert (near Palm Springs), he finds an old lady friend is there as well. Norma (Stanwyck) and Cliff end up spending a lot of time together...which is problematic because Cliff's son arrives at the resort and ASSUMES his father is having an affair...which he isn't.

At this point, things are getting pretty crazy. The wife is obviously neglectful, Cliff is feeling lonely and suddenly the son and oldest daughter think Dad is cheating...and begin treating him awfully. What's next? Well, see the film.

I loved this movie. Too often films are about the young and seeing one about normal middle-aged problems is refreshing. The film also is NOT moralistic nor does it encourage adultery. Instead, it shows the potential pitfalls in marriage which may occur due to familiarity and routine...and is a great film to watch with someone you love. Exquisitely made....and one of the better films of the year.

Over-rated!

[JohnHowardReid · 6/10 · 30 October 2012]

SYNOPSIS: Fred MacMurray does his best to compel audience sympathy while he is torn between the homey security offered by Joan Bennett and the more colorfully vampish allure of Barbara Stanwyck.

COMMENT: Here's a movie that captured little more than moderate interest from connoisseurs, critics and fans on its original release, but was elevated to cult status in the 1960s. Admittedly, it's beautifully dressed (albeit in black-and-white), and its lush Ross Hunter assets are effectively put across by director Sirk and photographer Metty in long, fluid takes. But aside from this gorgeous mounting, the movie offers hardly a single redeeming feature. The script is dime-store True Romance, while the acting follows the finest traditions of genteel soap opera. All the dialogue is neatly mouthed with just the right amount of synthetic facial quivering that does little to disturb the actors' impeccable make-up and grooming. These characters are not real people but artificial poseurs in a synthetic world of high-hat romance.

Frankly, "There's Always Tomorrow" is the sort of yesterday's picture that gives 1950s' Hollywood a bad name. True, for sold-out fans of its three stars , the movie offers predictable entertainment. And it's always a pleasure to see Pat Crowley, Myrna Hansen and Jane Darwell. But an auteur masterpiece, it is most definitely not!

don't buy these characters

[SnoopyStyle · 5/10 · 25 April 2020]

Once upon a time in sunny California, successful toy manufacturer Clifford Groves (Fred MacMurray) is eager for a night out for his wife's birthday. Only she's busy with one of the kids and nobody else in the family has the time. He ends up home alone eating by himself when Norma Miller Vale (Barbara Stanwyck) pays him a surprise visit. It's been 20 years since they last talked. She was his toy designer back in the day.

This melodrama from director Douglas Sirk reunites Fred MacMurray and Barbara Stanwyck. I am conflicted about this one. It falls into bad melodrama a few times. I don't buy these characters to start. MacMurray is playing it too cluelessly as Stanwyck plays it like a gold-digger. Then the script is conveniently switches and it tries to be a heart-wrenching romance. All the while, the kids are the most melodramatic of them all. There is plenty of melodrama for everyone. I can see the material working if a few adjustments are made.

***1/2

[edwagreen · 9/10 · 20 January 2016]

Another director Douglas Sirk's melodrama in this 1956 beautifully realized movie.

Taken for granted and ignored, Cliff (Fred MacMurray) discovers an old flame, Barbara Stanwyck, who worked with him but left 20 years ago as she loved him and saw no future.

There is his eldest son who accidentally sees the two of them at a resort and immediately assumes that something is going on along with his older sister.

Joan Bennett is the caring wife who is wrapped up in her children.

As always, Stanwyck shines here and this time she sheds her potential vicious acting and instead is a wholesome woman who reminds MacMurray that his infatuation with her is a reliving of his past and is something that could never be.

This is pure soap-opera, but beautifully done and the ending holds the high ground of morality and decency.