In truth, there is barely enough story here to make a film.

It’s sentimental, ridiculously long and only occasionally funny

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The film never slows down or bores, plunging from one harrowing sequence to the next.

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.

Fred MacMurray, Barbara Stanwyck, and Joan Bennett star in "There's Always Tomorrow," directed by Douglas Sirk and featuring William Reynolds, Gigi Perreau, Judy Nugent, and Pat Crowley as the young people.MacMurray is a successful toy developer, Clifford Groves, married to Marion (Bennett), and they have three children (Reynolds, Perreau, and Nugent). Marion is preoccupied with the kids and the household, while MacMurray is longing for some alone time with her and to do something different - take a weekend off, go to the theater -- but something always happens that prevents it.When Marion can't make a theater performance because of their daughter's dance recital, Cliff stays home alone. A woman who once worked for him, Norma Vale (Stanwyck) comes over to say hello. She's now a successful dress designer in from New York. He takes her to the theater instead, and then she asks to see his office.When a planned weekend in the desert with Marion doesn't work out because one of the girls breaks her ankle, Marion insists that Clifford go without her and relax. There, he runs into Norma again. Unfortunately, his son (Reynolds) shows up and thinks Cliff and Norma are involved. He and his friends leave without making their presence known to his dad. Without realizing what's happening, Cliff is falling for Norma; and he doesn't know that she's always been in love with him.This is a midlife crisis, '50s style, with the underpinning of the grass is always greener. That wasn't the original intention, of course - the original intention of the film is that Norma is lonely and would give up her wonderful career to have a family like Marion and Cliff have. People still feel this way, but today, it's more because of the road not taken, not so much because of dissatisfaction. Nothing's perfect, as the film shows us. Cliff sees Norma's freedom, the attention she pays him, her interest in his work. He feels in fourth place behind the kids to Marion. He's sick of being like the robot that is his latest toy. You wind him up, he works, he comes home, he has dinner, he goes to bed. With Norma he sees an opportunity for something different. Youth. To be put first. Endless possibility.What a lovely movie, and I thought I was sitting down to some second feature. Instead, it has Sirk's magic touch and his sly criticism of the picture-perfect '50s American life. Frankly, I could have slapped the kids and Marion for not seeing what's in front of their faces, but to be fair, kids are self-involved, and Marion is completely committed to doing what she thinks is important for Cliff and their family.Wonderful acting, with MacMurray as the frustrated Everyman, Bennett as an attractive, disciplined woman, and Stanwyck has someone who has earned wisdom the hard way, through hard work and disappointment.Highly recommended.

While I don't believe that "There's Always Tomorrow" is a masterpiece, it's a good movie whose quality lies not in the sudsy story, but in the professional work of the director and cast. Watching it seems to take the viewer back to the mid-1950s, a time of prosperity, formality, and rigid conformity, with husbands earning the money and mothers raising the kids. It's also fascinating to see a U.S. toy factory, something that disappeared years ago, and to see everyone wearing suits and dresses at ordinary dinners.The story is about Clifford Groves (Fred MacMurray), a hardworking owner of a toy factory in LA. He's a top breadwinner for his wife (Joan Bennett) and three kids, who take Clifford for granted and pay very little attention to him. Out of nowhere old flame and successful fashion designer Norma Miller (Barbara Stanwyck) comes into his life and sorely tempts Grove, who ponders his dreary home life and considers an affair with her. When Clifford and Norma spend a few days together at a resort in the California desert, the Groves kids become suspicious. The poignant ending has Norma breaking off the relationship and leaving on a plane while Clifford re-evaluates his family life. Because of a blistering lecture that the kids have received from Norma, the family now appreciates Clifford a little more.The story is pretty ordinary, but the stylish direction (by Douglas Sirk) and powerhouse acting by MacMurray, Stanwyck, and Bennett are so good that they bring the script to vivid life. In particular, the old chemistry between MacMurray and Stanwyck (as in "Double Indemnity" and "Remember the Night") is just irresistible. The B&W cinematography is also excellent. William Reynolds is good although rather strident in a crucial role as Clifford's son Vinnie Groves, and the acting of the other cast members is tops. This film's not on television very often (I last saw it on AMC and taped it over 10 years ago) so keep an eye open for it; it's worth the effort.

Fred MacMurray and Barbara Stanwyck reunite after "Double Indemnity" and "Remember the Night" to star in this great unknown film, which is another Ross Hunter-produced and Douglas Sirk-directed picture.Joan Bennett is Fred's wife and mother of his three children. But he is missing something, because her children are her world and they are in their own world, always taking. So when old friend Babs shows up, he spends time with her, only to fall in too deep. Unbeknownst to them, his oldest son joins him on a business trip. But, his client cancelled, leaving only Babs there to entertain Fred (who, yes, just happens to be there). The son sees them together laughing and jumps to conclusions. He promptly leaves not telling his father what he's seen. But, nothing ever happened! But the son, played by an actor I don't know, goes ballistic.The only problem I have is that the actor seems to get a little over-the-top. But, then again it is his strong reaction which is the catapult of all that happens later in the film.What makes this exceptional is a well-written and intelligent script and Fred and Babs' credible acting and chemistry. Man, that Stanwyck could act! She could act the arms off a chair! The scene where she chews the children out and the scene where she tells Fred that they could never be, are highlights. This film makes me want to watch nothing but Stanwyck's movies for a month!The title is a little misleading, though. It's obvious they mean that in "another time, another place" it could have happened and he and Babs could have been together. But with Fred a family man, the viewer is expecting him not only to stay with his family, but to really want to and not feel miserable doing for them.That notwithstanding, if you've never heard of this movie, you need to find it immediately. But, you won't regret it. We always have Stanwyck.