There’s Always Tomorrow

Directed by Douglas Sirk, There’s Always Tomorrow follows Fred MacMurray’s Clifford Groves as he begins to question his entire life after a chance encounter with a former employee (Barbara Stanwyck’s Norma). It’s certainly not surprising to discover that There’s Always Tomorrow has been infused with an unapologetically melodramatic sensibility that pervades its every aspect and attribute, as filmmaker Sirk, working from Bernard C. Schoenfeld’s screenplay, delivers a deliberately-paced yet mostly engaging narrative that boasts its fair share of soap opera-friendly plot developments and character revelations – with the often compulsively watchable atmosphere perpetuated by the across-the-board stellar performances. (It’s clear, of course, that both MacMurray and Stanwyck deserve the lion’s share of praise for the picture’s success, as the actors’ predictably captivating work here is heightened by their strong chemistry together.) And as is typical with Sirk’s output, There’s Always Tomorrow certainly isn’t afraid to look beyond the seemingly idyllic surface of 1950s suburbia – with, in this case, the movie exploring MacMurray’s character’s slow realization that perhaps his seemingly perfect life isn’t quite as perfect as he might’ve imagined. The final result is a solid endeavor that benefits substantially from an appropriately brisk running time (ie the whole thing doesn’t have a chance to wear out its welcome), and it does seem, ultimately, that There’s Always Tomorrow is as good an entry point into Sirk’s filmography as anything else.

*** out of ****