There's Always Tomorrow (1956)

I like the storyline of this show,it attract me so much

This movie is the proof that the world is becoming a sick and dumb place

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

David Lean did this 1000 times better in Brief Encounter. Dated. Wife is oblivious to any unpleasantness. It is unbelievable that she would dismiss her husband's concerns or her son's strange behaviour with a "What a pleasant evening!" Same when Norma says to Cliff that he has a wonderful life with his family when he is desperately unhappy. Real communication is lacking between EVERYONE in this movie except the two lovebirds Vinnie and Anne. That much incommunication without someone confronting the situation is hard to believe. SPOILER: Norma knew that Cliff's main complaint is that his family is TOO perfect - listen to how polite everyone is to one another. (An atmosphere Cliff is as responsible as anyone for - witness his family dinner scene when Norma visits). Cliff would not have our sympathy if he left Marian. Interesting that the Groves sleep in a double bed but Hollywood has made sure they have separate mattresses! Was Sirk influenced by Lean?

Fourth and final pairing of Barbara Stanwyck and Fred MacMurray. It's a midlife crisis soaper from director Douglas Sirk about a man (MacMurray) who feels neglected by his wife (Joan Bennett) and kids. When he meets old flame Stanwyck, sparks fly. When his kids find out, it naturally causes problems. Well-directed with some nice photography from Russell Metty. The visuals help make a routine story a little more interesting. But still, it's just that: routine. This is not the kind of movie that I would watch more than once. The performances are all fine but I just found it rather dull. Still, Stanwyck and MacMurray fans will want to check it out.

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

This film is one of the great Hollywood films yet so few have ever heard of. Not only does it rate with Douglas Sirk's better known films ("Magnificent Obsession," "All that Heaven Allows," and "Imitation of Life), but is as much a devastating a critique of the American Dream as other fifties movies like "Bigger Than Life." And unlike many melodramas which center on the emotional isolation and turmoil of the central female character, this one analyzes the pain of the main male figure (Fred MacMurray). The film's acting, direction, and script have a precision so well thought out that the effect--both at any given moment and overall --is absolutely astonishing. An incredible film crying out to be rediscovered.