IMDb रेटिंग
7.1/10
1.9 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंAn ex-convict and a woman fall in love, after she shoots her police Lt. boyfriend dead in self defense, and falsely leads him to believe that he did the shooting.An ex-convict and a woman fall in love, after she shoots her police Lt. boyfriend dead in self defense, and falsely leads him to believe that he did the shooting.An ex-convict and a woman fall in love, after she shoots her police Lt. boyfriend dead in self defense, and falsely leads him to believe that he did the shooting.
Robert Hyatt
- Johnny Dawson
- (as Bobby Hyatt)
Mari Aldon
- Dance Hall Hostess
- (बिना क्रेडिट के)
Fred Aldrich
- Lunch Counter Customer
- (बिना क्रेडिट के)
Barbara Bestar
- Minor Role
- (बिना क्रेडिट के)
John Bond
- Gas Station Attendant
- (बिना क्रेडिट के)
Philip Carey
- Radio Announcer
- (वॉइस)
- (बिना क्रेडिट के)
Bud Cokes
- Sidewalk Passerby
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
10Don-94
This film screened at the American Cinematheque's Egyptian Theatre in Hollywood on April 7, 1999. It was described in the American Cinematheque schedule as follows:
"TOMORROW IS ANOTHER DAY 1951, Warners, 90 min. Steve Cochran's an ex-con who's never been with a woman. Ruth Roman is a dime-a-dance dame with no use for sappy men. A hotel room, a dirty cop, a gunshot - the perfect jump-off for a fugitives-on-the-run love story. This virtually unknown noir is Felix Feist's masterwork, packed with revelatory set-pieces. Cochran was never more vulnerable, Roman never sexier. Imagine GUN CRAZY scripted by Steinbeck - it's that good."
I just saw this film, and I agree with every word of the above description.
"TOMORROW IS ANOTHER DAY 1951, Warners, 90 min. Steve Cochran's an ex-con who's never been with a woman. Ruth Roman is a dime-a-dance dame with no use for sappy men. A hotel room, a dirty cop, a gunshot - the perfect jump-off for a fugitives-on-the-run love story. This virtually unknown noir is Felix Feist's masterwork, packed with revelatory set-pieces. Cochran was never more vulnerable, Roman never sexier. Imagine GUN CRAZY scripted by Steinbeck - it's that good."
I just saw this film, and I agree with every word of the above description.
I can't think of any other film from the pre-Moon Is Blue period that deals with so many tough social issues (without, of course, QUITE breeching the Production Code): prostitution, rape, pimping, and even premarital sex. Steve Cochran is excellent as a brooding ex-con on the run from a crime he didn't commit. Outstanding atmosphere, photography, and screenplay. Even the scenes in the lettuce fields are outstanding!
An ex-con and a dance hall girl flee the cops and a wrongful murder charge.
Catch that early scene in the tacky dance hall— it's a gem. I've seen a lot of cheap dives in movies, but none I think combines atmosphere and annoyance better than this one. Between the hard dames and the 1-minute buzzer, the guys better hold onto their wallets. Then too, the Warner Bros. production manages uncommon attention to detail. Note how taxi-dancer Cay (Roman) ends the dance hall scene by soliciting another customer. That way we know she's a real hard case no matter what she's said to poor Clark (Cochran).
These touches continue throughout, as with the back-and-forth wristwatch mirroring Cay's and Clark's relationship, or the heart-stopping dropped keys that unlock the carry-all car. All in all, these are the kind of deft touches that turn a good film into a memorable one.
However, despite the excellence of this noirish first half, I have to agree with reviewer Teller. The second half unfortunately collapses into unremarkable melodrama. Frankly, Cay's big turnaround from loose woman to wifely Madonna is simply too complete to be believable. That transformation is signaled in her change of hair color. There, Cay washes out the dance hall blonde for the darker natural color underneath, thereby releasing the real person redeemed now by true love. However, the problem remains-- the personality contrast between the "hard-case before" and the "all-sweetness after" is simply too strong and abrupt not to draw critical attention, regardless of how worthwhile the message.
That's not to say the second part is wasted. Those clapboard shacks for the transient pickers are right out of Grapes of Wrath and just as realistic. Plus, Clark's personality remains volatile and believable, though undergoing the inevitable softening. I just wish the film had modulated Kay's change in a similarly subtle manner. Then we might have had a memorable whole instead of a memorable half.
Catch that early scene in the tacky dance hall— it's a gem. I've seen a lot of cheap dives in movies, but none I think combines atmosphere and annoyance better than this one. Between the hard dames and the 1-minute buzzer, the guys better hold onto their wallets. Then too, the Warner Bros. production manages uncommon attention to detail. Note how taxi-dancer Cay (Roman) ends the dance hall scene by soliciting another customer. That way we know she's a real hard case no matter what she's said to poor Clark (Cochran).
These touches continue throughout, as with the back-and-forth wristwatch mirroring Cay's and Clark's relationship, or the heart-stopping dropped keys that unlock the carry-all car. All in all, these are the kind of deft touches that turn a good film into a memorable one.
However, despite the excellence of this noirish first half, I have to agree with reviewer Teller. The second half unfortunately collapses into unremarkable melodrama. Frankly, Cay's big turnaround from loose woman to wifely Madonna is simply too complete to be believable. That transformation is signaled in her change of hair color. There, Cay washes out the dance hall blonde for the darker natural color underneath, thereby releasing the real person redeemed now by true love. However, the problem remains-- the personality contrast between the "hard-case before" and the "all-sweetness after" is simply too strong and abrupt not to draw critical attention, regardless of how worthwhile the message.
That's not to say the second part is wasted. Those clapboard shacks for the transient pickers are right out of Grapes of Wrath and just as realistic. Plus, Clark's personality remains volatile and believable, though undergoing the inevitable softening. I just wish the film had modulated Kay's change in a similarly subtle manner. Then we might have had a memorable whole instead of a memorable half.
Yeah, I know, Scarlett O'Hara's favorite maxim. If by some weird set of circumstances this thoughtful little gem shows up on your TV after the latest infomercial, tape it, go to bed, and sometime when you're in the mood for some reflective film watching, shove it in the VCR maw. Steve Cochran plays a really dumb guy who gets entwined with Ruth Roman's cynical, smart loser dame through a series of preposterous events. If J. D. Salinger had written a crime film, it would have probably turned out like this. Why are films like this so hard to find? Other '50's obscurities worth checking out: Eight Iron Men; Kiss Me Deadly; Rogue River; Violent Saturday; Blood And Steel; Paratroop Command; Convicts Four (actually '62, but a great prison film.) I give up, nobody seems to remember anything about movies since 1980 anyway.
"Tomorrow is Another Day" is a B movie; those often looked down upon stepchildren of the Hollywood system peopled with so called second stringers. When a B movie is as good as "Tomorrow is Another Day", one realizes just what an amazing factory Hollywood was in its heyday. Helmed by the not too well known director Felix E. Feist it stars Ruth Roman and Steve Cochran in the leads. They were both dependable performers with a fairly strong screen presence, but here they both turn in compelling performances and indeed carry the film wonderfully. These characters have come from tough backgrounds and as the film progresses we sense them softening as their relationship develops. The transition is subtle and well handled. While the story itself may have its pitfalls, the dialogue is crisp and credible with some of those wonderful noir one liners one comes to expect from such fare. What elevates "Tomorrow is Another Day" so far above its peers is the wonderful work of cameraman Robert Burks. No wonder Burks was often chosen by Hitchcock for his masterly work, ("The Birds" and others.) Despite the modest proportions of this B movie, Burk takes great pains with each shot; selecting interesting and effective angles. It's his work that puts the stamp of class on this movie. While certainly not a classic, the poorly titled "Tomorrow is Another Day" offers a very satisfying movie watching experience.
क्या आपको पता है
- ट्रिवियाAccording to studio publicity materials for this picture, Steve Cochran broke his leg shooting a fight scene with Hugh Sanders during the first week of filming. After a short hospital stay, he wore a cast for two weeks during this production.
- गूफ़When Bill and Cay are fleeing to Easton, Pennsylvania in her brother's car, a shot of the car's dash shows the speedometer at about 55 mph, but all of the other gauges - temperature, fuel, oil, and amps - are as if the car is turned off.
- भाव
Prison Warden: Your generation grew up, married, raised families, went to war. But nothing happened to you, Bill. You just got older.
- इसके अलावा अन्य वर्जनScenes with Gene Roth as Jim, a Foreman, were deleted.
- कनेक्शनFeatured in Noir Alley: Tomorrow is Another Day (2018)
- साउंडट्रैकDeep Night
(uncredited)
Music by Charles Henderson
[Played during the opening credits and often throughout the picture]
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is Tomorrow Is Another Day?Alexa द्वारा संचालित
विवरण
- चलने की अवधि1 घंटा 30 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1
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