There’s Always Tomorrow (Douglas Sirk, 1956)

This is my contribution to the Remembering Barbara Stanwyck Blogathon, being organised by Crystal at The Good Old Days of Classic Hollywood. Please do visit and look at the other pieces about one of the all-time greatest film stars.

there's always tomorrow 7It’s a black and white film full of shadows, with Barbara Stanwyck as the woman tempting Fred MacMurray to abandon his virtuous life. Another leading noir actress, Joan Bennett, also stars. But Douglas Sirk’s domestic melodrama There’s Always Tomorrow is worlds away from  Double Indemnity, and Stanwyck’s character here is no femme fatale – or not consciously so. However, her effect on the life of MacMurray’s character could prove to be nearly as devastating as it was in the earlier film.

I have some problems with attitudes woven into this film, which will become clear during my review, but I still find it compelling, as with all the “emotion pictures” by Sirk that I’ve seen so far. And Stanwyck is just as riveting to watch as always, giving depth to a character whose motivation isn’t always clear. This is the second time she had played an outsider returning home in a Sirk film, after the earlier All I Desire, also in black and white.

It’s also one of four films she and MacMurray made together, all very different. After enjoying Double Indemnity, the great Christmas romantic comedy Remember the Night and this one, I’ve only got The Moonlighter still to go. There’s Always Tomorrow was their last time together, though, and that gives an extra poignancy to the film, since they are cast as a couple reunited after years apart.

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Scarlet Street (1945) and artist John Decker

I’ve just finally got round to seeing the  film noir classic Scarlet Street, directed by Fritz Lang – one of the many greats I had somehow managed to miss up to now. I’m not going to write a full review, but will be going off at a tangent about the artist whose work is featured in the film, John Decker. However, on the film itself, I will briefly say that I was struck by the darkness and feeling of menace building up all the way through, and especially by the haunting  final scenes, which are justly the most famous. Many copies of the movie around on the web and on budget DVDs are bad public domain prints, but the picture and sound are much better on the remastered version issued by Kino.

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