There's Always Tomorrow (1956)

Likable people get into a predicament that only mature adults can understand. Hollywood good guy Fred MacMurray takes on the two greatest film noir femme fatale of the 1940's, one of them his old scheming partner, Barbara Stanwyck. Wife Joan Bennett is more the woman in the nursery than the woman in the window, too busy with raising three children than acknowledging her husband MacMurray's desire to share her birthday with her. With the kids and even the housekeeper too busy to go to the theater with him, he is more than willing for companionship when old flame Stanwyck shows up. The evening out moves to a weekend away with her, and even though it seems even to the audience to be totally innocent, oldest child William Reynolds suspects more. An evening with Stanwyck with the family makes him certain that what he suspects is true, while Bennett's innocent emotional neglect of MacMurray makes him consider his options.A remake of a 1934 romantic melodrama, this is just one 30's classic that Ross Hunter dusted off, scrapping off the moth balls to bring it up to date. It's nice to see two of my favorite Brooklyn gals, Stanwyck and Bennett, together, and it is ironic that as similar as they were in the 1940's, I couldn't imagine them switching roles. Jane Darwell is the earthy housekeeper, while Pat Crowley is Reynolds's wise girlfriend who tries to get him to see reality. Ironically, Stanwyck's ex-husband, Robert Taylor, played the son in the original. The scene with Reynolds and Gigi Perreau confronting Stanwyck about the alleged affair is exactly the same as the original, but in retrospect, it is as dated as "Back Street" which had a similar scene. That alone gives credence to the line in a Mel Brooks song that asks, "Could it be real or Fanny Hurst?" This is not anything remarkable, but the three stars try to bring something smart to something so formula. These are the types of parts that the stars could play in their sleep. It lacks the color of Ross Hunter's other soap opera remakes, but somehow, that doesn't seem to be missing here.

This version of There's Always Tomorrow plays a tad better than the original version that Universal Pictures did in 1934. For one thing the overwhelming theme of the Great Depression is not present on the screen and the kids are a bit less shallow than those of the originals.Fred MacMurray is a wealthy toy manufacturer who is alienated by his family especially his kids. Wife Joan Bennett takes dependable Fred for granted and the kids, Gigi Perreau, Judy Nugent, and William Reynolds just see him as a cash cow. When an old flame played by Barbara Stanwyck comes to town the results are inevitable. This is the fourth of four films that Fred MacMurray did with Barbara Stanwyck and while fans of both should be pleased it's hardly in the same league as Double Indemnity. Douglas Sirk who did so well by Rock Hudson in the Fifties directed this version of There's Always Tomorrow. It has the requisite number of suds for the glorified soap opera that it is.

Stylish drama acted expertly by super professionals. The powerful duo of Stanwyck and MacMurray excel when paired together and this is a fine example of that. Sadly this film is somewhat obscure, a shame since it really does examine in simple terms the crisis a man faces when he realizes he has fallen into a rut without being aware of it. Another winner from Sirk and perhaps even better then some of his more renown films, which are certainly enjoyable if sometimes over the top and a little lurid, since this drama is muted and closer to real life. The problems the film examines seem rooted in the 50's consumerism but by looking a little deeper they are revealed to be universal and timeless issues. This was the final pairing of Barbara and Fred, all their collaborations are worth watching, although The Moonlighter is rather sketchy, but this is the only one showing them as a mature pair and it's a pity they didn't have a chance to make perhaps one more when they had reached old age since they brought out the best in each other.

Typical soap opera by director Douglas Sirk (albeit less glossy than his earlier technicolour offerings of "Magnificent Obsession" and "All That Heaven Allows", and certainly less well-known). Having read the comments posted by other viewers about this film, I must confess that I don't quite share their enthusiasm. Although generally well done (and nicely filmed in black-and-white), "There's Always Tomorrow" really offers nothing special in terms of the story line (hard-working, successful businessman Fred MacMurray feels neglected by wife Joan Bennett and their three children, meets old flame Barbara Stanwyck, considers having an affair). However, the film does move along at a good pace, and will certainly hold your interest. The children's perspective of the situation (particularly grown-up child William Reynolds, the oldest of the three) is well presented. The lead roles are very capably acted by old pros MacMurray and Stanwyck, but their re-teaming hardly compares to the dynamic fireworks they displayed in their earlier film, the undeniably great "Double Indemnity". All in all worthwhile, but I wouldn't rank it amidst the classics.