La potence est pour demain

John Agar himself has said (in an online chat hosted by Turner Classic Movies) that this was a "very strange" movie. Strange yes, but also intriguing in a low-budget sort of way.

Of course, the film is a retread of the old hooker-with-a-heart-of-gold romantic fantasy. (A much more recent example: "Leaving Las Vegas.") The Cleo Moore character, who agrees to spend the night with Agar, isn't actually identified as a prostitute, but we get the idea. We also know that the more time these two tormented souls spend together, the more they will get to know each other, and themselves, with a generous helping of psychobabble along the way.

But once you get past the obviousness of the film's rather incredible premise, not to mention a mawkish opening theme song, things get interesting in this modest, offbeat Hugo Haas opus. Moore and Agar deliver performances that are sincere, if at times a bit theatrical - he plays a condemned man who's mad at the whole world; she plays a suicidal woman who, despite her despair, is still capable of hope. Some of Moore and Agar's scenes together are nicely played out in long, continuous takes.

Unfortunately, the movie is nearly ruined by a frustrating, unresolved ending. Haas may have been trying for some kind of dramatically suspended moment, but it makes you want to yell at him: Tell us what happens next!!!

This is a very original film on a very original story with very original actors, and even the music is original. Hugo Haas was something of a buccaneer in Hollywood, doing his own films, writing his own scripts, finding his own actors and team work, and the result is something of the most original and fascinating of film making during the great age of noirs. Here the film begins with a girl trying to drown herself by jumping into the river, she is rescued against her will and has to return to her more than dreary existence of nothingness, being threatened by being thrown out of her shabby room, having no place to go and no one to care about. By chance two policemen look her up with the strangest of offers: she will be paid $200 for keeping company with a prisoner sentenced to death during his last night, since that is his last wish. She doesn't care about anything and therefore accepts, and most of the film is just the two of them talking together in his cell, airing their mutual hopelessness and finding each other. That's the whole story. The dialog is amazing, extremely intriguing and well written, and the warden, the watchmen, his stepsister also play some part, but as a chamber play this is perfect and enduring. She will never forget her last night with a man sentenced to hang, and no audience could possibly ever forget this film.

A death row inmate has one last wish before he is hanged: to spend the night with a woman. The police bring him a suicidal prostitute. After their night, the two decide they are in love and are married by the prison priest. How will this turn out for the prisoner?

Hugo Haas is a unique filmmaker; his films never really fit into the category of Hollywood productions that follow rules like a happy ending or feature women who are always moral angels without flaws. The latter, in particular, is, in my opinion, a major reason why he never achieved A-list status in Hollywood.

Undeservedly so, in my opinion, because his films are always full of feeling-sentimental perhaps, but that makes his films human, with a different, refreshing view of society.

The acting by Moore and Agar is very solid, and the story is compelling.

Perhaps one of Haas's best films.

"Hold Back Tomorrow" is one of the stranger films I've ever seen. Not bad at all...just very strange. And, it's because the film is so unusual that I recommend you see it.

When the story begins, Joe (John Agar) is on death row...a day before his scheduled execution. Unlike most prisoners in such situations, Joe is not repentant and wants everyone to just shut up and leave him alone. But, after the warden offers to give him ANY last request, Joe decides he wants to have a woman spend his final hours with him. While this sounds like he wants to get some, he just wants someone to talk to.

At the same time, a seriously depressed woman tosses herself into the river. She is saved...and yells at the stranger who saved her. Ultimately, she is the woman who is asked to spend Joe's final night with him in his prison cell.

This is a very odd film. On one hand, the plot is completely ridiculous as wardens do NOT offer the condemned ANYTHING they want...no questions asked! And, having a stranger spend a the night with the condemned...well, that sure isn't gonna happen! But if you can suspend disbelief, the film is amazing. First, while about 95% of the story consists of the pair just talking in one room, it's never boring. Second, for years, John Agar has been known as one of the worst actors alive. But here, with the right material, he shows his acting chops. After playing most of the story angry in a one-note performance, later he changes and his depth of talent shows. Cleo Moore is also quite good as the girl. Overall, a film which really works once you stop worrying about the improbability of it all. A really nice low-budgeted movie...one which I almost gave a 9.

This is my favourite performance from the otherwise rather sterile John Agar. He is "Joe", on death row having been found guilty of strangling three women. He's decided to go out in Garbo style, wanting to be alone and angrily resisting any attempts from his family, or the priest, to comfort him as the big day nears. With twenty-four hours to go, though, he decides that the "company" of a lady might help ease his burden and obliged to help him out, the prison manage to recruit "Dora" (Cleo Moore). Now she's not in a very good place either - indeed had earlier tried to jump in the river; so a few dollars for a quickie with "Joe" didn't seem such a bad offer. Whilst there is certainly a predictability about the latter portion of this drama, it's still performed well and is tautly directed by Hugo Haas. Moore delivers an impassioned effort, indeed in many ways her character is far more intriguing than the sorry-for-himself "Joe". It is a bit dialogue-heavy, but for the most part that dialogue is worth listening to as we head towards the expected denouement - expected on just about every level. It does sail perilously close to melodrama at times, but it has a compensating grittiness and realism that I felt made this a much better than average tale to tell. You probably won't remember it for long afterwards, but it's enthralling enough when you watch.