Tomorrow

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.

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.

This is a very fine William Faulkner adaptation set in circa 1910 rural Mississippi. Duvall fans, like me, should be thrilled to see and hear his masterful piece of humble and unpretentious acting. I must say there is a level of disappointment in reading the few negative or cursory reviews. I think one of the most overlooked elements in this film is the outstanding acting by Olga Bellin (Sarah). Frequent commentary of being cast too old is unfounded. Women in rural environments of this depicted era were a little worn around the edges. Sarah is actually quite beautiful in close ups, and she dispels any age related bias in the subtleties of her great acting. Where Duvall is masterful in delivering rural and colloquial dialog, Bellin equals the performance with outstanding facial expressions and body language. It is like having a window to her heart and mind. Together, they compelled me to care about them. In some ways, a nice motif on opposites attract. As for the purported, slow pace of this movie, I might just say life in the woods of Mississippi for 103 minutes did not seem too deliberate for me. This film is a very good and focused character study on love and loyalty. The monochromatic cinematography is appropriate and adequate. The on location, props and screen captures are great. Cinophiles should appreciate it. Despite some critics perceived B-movie imagery at times, this film has 4-star acting and a meaningful story.

Robert Duvall has mentioned in several interviews that "Tomorrow" was one of his favorite movies that he worked on. He also mentioned that it was one of his most esoteric works. The movie disappeared from the theatres mostly because Duvall wasn't quite a marquee name at the time and furthermore, the actors weren't conventionally beautiful or handsome. And then there was that accent that Duvall affected... Anyway, this was based on a short story by Faulkner that was published in the Saturday Evening Post back when short stories could be published in anything other an anthology. It is also one of my favorite movies. The love story was touching and sweet. The ending had me bawling. And nobody was turned into a fish.

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.