Tomorrow

Incredibly moving, well told tale. Robert Duvall takes the viewer into the vast depths of a man's heart and tragically into the dark night of the soul. This Shakespearean-like Tragedy brings the viewer to cathartic release and lingers with the viewer long after the final credits.

The precise acting, the black&white cinematography, the gut-wrenching emotions combine to give the right viewer an extraordinary film experience. The "right" viewer = Someone who has ever loved without reservation, a hero of the heart.

For the wrong viewer: slow, maybe pointless and yes, maybe an inaccurate rendition of the original short story. However, what some may see as flaws, are carefully crafted intentions to dramatize/present on film difficult-to-describe, complex emotions and relationships.

This is an incredible film. Not only is it a near perfect visualization of something quite complex, the Faulkner literary style, but it shows Robert Duvall to be the genius that he is. His style is so understated that you might not realize that he is one of the two or three greatest actors alive, but this film will nail that reality home for you. "Tomorrow" is a heartbreaking story set in the deep south a generation after the Civil War, and the tiny sad tale of a man and a woman and their child. It is a tale of profound love felt by people who cannot eloquently express themselves in words due to their social circumstances, but speak volumes with their actions. And so does the film. Shot in a very modernist style, there are long pauses, long glances, uncomfortable silences, all just like real life. And the effect, in this case, is brilliant. I am proud to say that I have, in my life, known a few people like the people in this film, and I can tell you that the portrayals are precisely right. The costumes are flawless in their detail. (Duvall's shirt is held shut with a safety pin, a tiny detail that my grandmother noticed immediately as the way men used to do it when the button fell off - she saw it hundreds of times as a girl in the 20's.) I could go on and on, but if you have any interest in Faulkner, or the South, or post Civil War culture, or the human condition in its most effecting moments, you really owe it to yourself to see this little gem of a movie. You absolutely will not be sorry.

What a formula for a great movie, based on a Faulkner short story, screenplay by Horton Foote and Robert Duvall in the lead! I don't think any of the three has ever done better. If you want to know what is essential in this life and what you can do without I'd highly recommend this film. The last line of the film explains the title so beautifully, it is a film that has haunted me for years, always gives me courage to go on. Don't watch it if you are not a sensitive person, you'd waste your time and only sensitive hearts and minds should be blessed by watching this film.

In the deep American South of the early 1900's, living wasn't easy. Food and work were scarce, and so were the means to find them. Jackson Fentry had it harder than most. A simple man with a kind heart, Fentry walks thirty miles in the depths of Winter to take up a job as a sawmill operator. There, he lives a quiet, lonely life and seems destined to stay that way forever. Soon however, happenstance brings an abandoned, sickly pregnant woman to the sawmill, who Fentry cares for, nursing her back to health. Eventually the two form a bond and she gives birth to a healthy child- but whether or not Fentry will be able to sustain their newfound, non-traditional family unit in a cruel, cold world remains to be seen.

Directed by Joseph Anthony and Written by Horton Foote- based on an episode he wrote for Playhouse 90, which was in turn inspired by a William Faulkner short story- this drama is quietly powerful on all fronts. Foote was a writer of much subtlety, whose work in a wide range of mediums- from theatre to television- continues to impress with its' emotional depth. His screenplay for 'Tomorrow' ranks alongside his adaptation of 'To Kill a Mockingbird' as one of his finest works. It's never melodramatic, despite having moments of high-drama, with Foote painting a portrait of Southern life at the turn of the last century that is both realistic and profound.

Foote's dialogue sounds genuine to the period and to the characters, with his writing for Fentry being particularly believable and strong. Some critics suggest that he has over-written some of Faulkner's lines, added too many Southernisms perhaps. However, if one reads the Faulkner story that 'Tomorrow' is based on, they'll see that this isn't the case. In fact, the seeming over-use of Southern sayings and eccentricities of speech in the film are as present in Faulkner's original work as they are in Foote's adaptation. Not to mention the fact- and this is a cheap line, but a pertinent point- that is how many people talked back then.

Under Anthony's direction, Allan Green captures the coldness, despair and drama inherent to the story masterfully with his black and white cinematography. He moves his camera relatively little, and this stillness adds unquestionable power and dramatic tension to scenes as well as reinforcing the overall tone of the film. The muted score from composer Irwin Stahl also contributes to the atmosphere, as does Reva Schlesinger's fine, unobtrusive editing.

Robert Duvall is a master of understatement, and his performance as Fentry is a testament to that fact. His Fentry is a sad, introverted man of surprising emotional intelligence and depth. Stuck in a cold life without resources, or the abilities- mental or otherwise- to acquire them, he has the audience's sympathies from the get-go. Duvall consistently underplays the role, despite having many lines to deliver steeped in Southern slang (which a lesser actor would surely overemphasise). Faulknerian characters are never easy to bring to life, but Duvall makes it seem like a breeze; delivering a complex, affecting performance that will be fondly remembered forever by those who see it.

Olga Bellin leads the supporting cast as Sarah, the pregnant woman who fate transports to Fentry's door. Her's is an intriguing character whose background is never fully explained or explored in the film, though Bellin does a remarkable job making her appear sympathetic and well-rounded. She is a more expressive presence on screen than Duvall, and their contrasting acting styles makes for interesting viewing. Though she doesn't have all that much screen time, Bellin certainty leaves an impression, and delivers a fine performance all the same.

'Tomorrow' is a quiet, sad, slow-burn that is an emotionally powerful journey back to the deep South of the 1900's. It is a fantastic adaptation of William Faulkner's story, a writer whose work is often butchered or made overly melodramatic on screen. Robert Duvall delivers a masterful lead performance that will enrapture any viewer with its depth and power. It may not be for everyone, but for those who appreciate character-based human dramas; 'Tomorrow' is a must watch.

Tomorrow is one of the finest movies I have seen. Duvall was excellent in this movie, and even he points back to this as his finest work in cinema (I read an article once in which Duvall said that this role was his "King Lear"). The story is simple but significant. The impact of it is substantial. It is not a movie for hard-hearted cynics. Although it is not sappy, and by no means is it over-the-top (understated is a much better description), the movie does require a man to peel back his macho veneer and and try to identify with a life situation many men may find almost ridiculous (or horrifying) in this day, i.e. a life of faithful love and service. As such, this film would not be a top pick of fans of "The Man Show", or anything on MTV, for that matter. It is a gutwrenching story of sacrifice and self-denial; in other words, it is a REAL love story that brings to mind the love of God for the unlovely.