Heute und morgen und in alle Ewigkeit

This movie predates some of Duvall's more critically acclaimed and popularly received turns, but in truth, this may be the finest acting job of his career. Duvall is this film, and he has made this kind of intense, honest character study his own (Tender Mercies, The Apostle, The Great Santini). The black and white cinematography is perfectly suited to the story and the acting. It works as a far more honest story-telling device than Spielberg's "Schindler's List." This is a must-see for Duvall fans and for fans of small, independent films as well.

In the deep American South of the early 1900's, living wasn't easy. Food and work were scarce, and so were the means to find them. Jackson Fentry had it harder than most. A simple man with a kind heart, Fentry walks thirty miles in the depths of Winter to take up a job as a sawmill operator. There, he lives a quiet, lonely life and seems destined to stay that way forever. Soon however, happenstance brings an abandoned, sickly pregnant woman to the sawmill, who Fentry cares for, nursing her back to health. Eventually the two form a bond and she gives birth to a healthy child- but whether or not Fentry will be able to sustain their newfound, non-traditional family unit in a cruel, cold world remains to be seen.

Directed by Joseph Anthony and Written by Horton Foote- based on an episode he wrote for Playhouse 90, which was in turn inspired by a William Faulkner short story- this drama is quietly powerful on all fronts. Foote was a writer of much subtlety, whose work in a wide range of mediums- from theatre to television- continues to impress with its' emotional depth. His screenplay for 'Tomorrow' ranks alongside his adaptation of 'To Kill a Mockingbird' as one of his finest works. It's never melodramatic, despite having moments of high-drama, with Foote painting a portrait of Southern life at the turn of the last century that is both realistic and profound.

Foote's dialogue sounds genuine to the period and to the characters, with his writing for Fentry being particularly believable and strong. Some critics suggest that he has over-written some of Faulkner's lines, added too many Southernisms perhaps. However, if one reads the Faulkner story that 'Tomorrow' is based on, they'll see that this isn't the case. In fact, the seeming over-use of Southern sayings and eccentricities of speech in the film are as present in Faulkner's original work as they are in Foote's adaptation. Not to mention the fact- and this is a cheap line, but a pertinent point- that is how many people talked back then.

Under Anthony's direction, Allan Green captures the coldness, despair and drama inherent to the story masterfully with his black and white cinematography. He moves his camera relatively little, and this stillness adds unquestionable power and dramatic tension to scenes as well as reinforcing the overall tone of the film. The muted score from composer Irwin Stahl also contributes to the atmosphere, as does Reva Schlesinger's fine, unobtrusive editing.

Robert Duvall is a master of understatement, and his performance as Fentry is a testament to that fact. His Fentry is a sad, introverted man of surprising emotional intelligence and depth. Stuck in a cold life without resources, or the abilities- mental or otherwise- to acquire them, he has the audience's sympathies from the get-go. Duvall consistently underplays the role, despite having many lines to deliver steeped in Southern slang (which a lesser actor would surely overemphasise). Faulknerian characters are never easy to bring to life, but Duvall makes it seem like a breeze; delivering a complex, affecting performance that will be fondly remembered forever by those who see it.

Olga Bellin leads the supporting cast as Sarah, the pregnant woman who fate transports to Fentry's door. Her's is an intriguing character whose background is never fully explained or explored in the film, though Bellin does a remarkable job making her appear sympathetic and well-rounded. She is a more expressive presence on screen than Duvall, and their contrasting acting styles makes for interesting viewing. Though she doesn't have all that much screen time, Bellin certainty leaves an impression, and delivers a fine performance all the same.

'Tomorrow' is a quiet, sad, slow-burn that is an emotionally powerful journey back to the deep South of the 1900's. It is a fantastic adaptation of William Faulkner's story, a writer whose work is often butchered or made overly melodramatic on screen. Robert Duvall delivers a masterful lead performance that will enrapture any viewer with its depth and power. It may not be for everyone, but for those who appreciate character-based human dramas; 'Tomorrow' is a must watch.

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.

In my opinion, Robert Duvall's performance made this story into a believable movie, and turned his character into a man of understated strength, and an admirable person. He managed to capture the mannerisms, accent, and speech syntax of his character and the region to the extent that the other actors' otherwise good portrayals appeared out of place. I'm not sure that I would have seen the movie, had I read the story first; however, having seen the movie, I want to read the book.

What a formula for a great movie, based on a Faulkner short story, screenplay by Horton Foote and Robert Duvall in the lead! I don't think any of the three has ever done better. If you want to know what is essential in this life and what you can do without I'd highly recommend this film. The last line of the film explains the title so beautifully, it is a film that has haunted me for years, always gives me courage to go on. Don't watch it if you are not a sensitive person, you'd waste your time and only sensitive hearts and minds should be blessed by watching this film.