Chamas Que Não se Apagam

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.

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

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.

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

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.