Tomorrow Is Another Day (1951)

Sorry, this movie sucks

i must have seen a different film!!

Am i the only one who thinks........Average?

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Steve Cochran is an Underrated Actor with Smoldering Good Looks and Usually Played the Heavy. This is a Challenging Role Because the Character Must be Vulnerable, Naive, and a Child in a Man's Body. After being Released from Prison, Sentenced to Serve 18 Years, at 13, for the Shooting Death of His Abusive Father, He is a Lamb Among the Wolves. A Noir Tradition of a Cruel, Cut-Throat World where "Danger Lives" Around Every Corner. Ruth Roman's Character is a Difficult Part as well. She Must Go from from Dime-a-Dance Dame, Always Looking Out for Number One, to a Caring Wife and Completely Unselfish Woman.This May Not be a Pure Film-Noir and is a Film that Compromises. Starting in the 1950's Film Studios were Under Pressure from Anti-Communist Crusades and Film-Noir, with Some Exceptions, saw Capitulation Brought On by a Cultural and Political Paranoia. Careers were Lost and Campaigns Begun by Right-Wing Groups "Forced" Movie Makers to Light the Dark Shadows of American Life Appearing that they Didn't Exist.Overall, this is One of Those Film-Noir from the Fifties and Stickler Fans were Finding Their Noirs Beginning to Soften.This One is Upbeat and More Conventional Movie Making. It's What We Got in the Fifties and Audiences were Given a Rose Colored View of Life. If Only that were True.

A man is released after 18 years for killing his father, and falls right into hot water again when he meets a dodgy dancehall dame. Starts out strong and fizzles out. In the early stages, it's classic noir, with an intriguing femme fatale, appealing stylization, a rough edge and some good on-the-lam scenes. Then Ruth Roman's character takes a rather unbelievable turn and the film becomes a pretty dull melodrama. Once in a while an interesting facet will surface, but it's a big dropoff from the movie's early promise. Other films have pulled off this kind of shift quite nicely: ON DANGEROUS GROUND and ONE WAY STREET come to mind. But here it feels like the air being drained from a tire. Steve Cochran is pretty good throughout, and Roman is excellent up until the change (when she goes from blonde to brunette). While the movie never gets bad, it does get disappointing. The ending is a little too convenient as well.

I can't think of any other film from the pre-Moon Is Blue period that deals with so many tough social issues (without, of course, QUITE breeching the Production Code): prostitution, rape, pimping, and even premarital sex. Steve Cochran is excellent as a brooding ex-con on the run from a crime he didn't commit. Outstanding atmosphere, photography, and screenplay. Even the scenes in the lettuce fields are outstanding!

Yeah, I know, Scarlett O'Hara's favorite maxim. If by some weird set of circumstances this thoughtful little gem shows up on your TV after the latest infomercial, tape it, go to bed, and sometime when you're in the mood for some reflective film watching, shove it in the VCR maw. Steve Cochran plays a really dumb guy who gets entwined with Ruth Roman's cynical, smart loser dame through a series of preposterous events. If J. D. Salinger had written a crime film, it would have probably turned out like this. Why are films like this so hard to find? Other '50's obscurities worth checking out: Eight Iron Men; Kiss Me Deadly; Rogue River; Violent Saturday; Blood And Steel; Paratroop Command; Convicts Four (actually '62, but a great prison film.) I give up, nobody seems to remember anything about movies since 1980 anyway.