Tomorrow

This is a very fine William Faulkner adaptation set in circa 1910 rural Mississippi. Duvall fans, like me, should be thrilled to see and hear his masterful piece of humble and unpretentious acting. I must say there is a level of disappointment in reading the few negative or cursory reviews. I think one of the most overlooked elements in this film is the outstanding acting by Olga Bellin (Sarah). Frequent commentary of being cast too old is unfounded. Women in rural environments of this depicted era were a little worn around the edges. Sarah is actually quite beautiful in close ups, and she dispels any age related bias in the subtleties of her great acting. Where Duvall is masterful in delivering rural and colloquial dialog, Bellin equals the performance with outstanding facial expressions and body language. It is like having a window to her heart and mind. Together, they compelled me to care about them. In some ways, a nice motif on opposites attract. As for the purported, slow pace of this movie, I might just say life in the woods of Mississippi for 103 minutes did not seem too deliberate for me. This film is a very good and focused character study on love and loyalty. The monochromatic cinematography is appropriate and adequate. The on location, props and screen captures are great. Cinophiles should appreciate it. Despite some critics perceived B-movie imagery at times, this film has 4-star acting and a meaningful story.

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 my opinion, Robert Duvall's performance made this story into a believable movie, and turned his character into a man of understated strength, and an admirable person. He managed to capture the mannerisms, accent, and speech syntax of his character and the region to the extent that the other actors' otherwise good portrayals appeared out of place. I'm not sure that I would have seen the movie, had I read the story first; however, having seen the movie, I want to read the book.

This movie predates some of Duvall's more critically acclaimed and popularly received turns, but in truth, this may be the finest acting job of his career. Duvall is this film, and he has made this kind of intense, honest character study his own (Tender Mercies, The Apostle, The Great Santini). The black and white cinematography is perfectly suited to the story and the acting. It works as a far more honest story-telling device than Spielberg's "Schindler's List." This is a must-see for Duvall fans and for fans of small, independent films as well.

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.