I love this movie so much

Beautiful, moving film.

Absolutely Brilliant!

This story has more twists and turns than a second-rate soap opera.

"Tomorrow Is Another Day" is an example of why I love TCM.Included as part of the station's "Summer of Darkness" series, highlighting my favorite genre, film noir, "Tomorrow Is Another Day" aired at 10:45 pm. I had no intention of watching it, since I was tired and I'd already sat through two other movies in the series that evening: "The Gangster" and one of my all time faves, "Gun Crazy." But then the host started talking about how "Tomorrow..." is a "dark gem" in the noir canon and how it's relatively unknown, and I started to think about when I would ever have the chance to see it again and decided I had to sit down and watch the damn thing.And man was I glad I did. A gem indeed, "Tomorrow..." stars Steve Cochran and Ruth Roman as a recently released con and a dance hall hostess, respectively, who move away from the city and set up house, only to find that his criminal past will not be left behind so easily. There's a whole sub genre of noir that involves flights from big cities into the open spaces of America and how those open spaces are no longer safe; the decay of urban environments will follow relentlessly, and the open spaces are even more dangerous because there are fewer places to hide. Cochran and Roman have incredible chemistry together, and the movie really makes you root for both of them, even though he comes across as perhaps a tad off his rocker.In case I've oversold it, don't think this film is going to change your life. There's nothing groundbreaking to be found here. But it is a fresh surprise in a genre that's full of fresh surprises.Felix Feist (who?) provides the playful direction.Grade: A

Steve Cochran is an Underrated Actor with Smoldering Good Looks and Usually Played the Heavy. This is a Challenging Role Because the Character Must be Vulnerable, Naive, and a Child in a Man's Body. After being Released from Prison, Sentenced to Serve 18 Years, at 13, for the Shooting Death of His Abusive Father, He is a Lamb Among the Wolves. A Noir Tradition of a Cruel, Cut-Throat World where "Danger Lives" Around Every Corner. Ruth Roman's Character is a Difficult Part as well. She Must Go from from Dime-a-Dance Dame, Always Looking Out for Number One, to a Caring Wife and Completely Unselfish Woman.This May Not be a Pure Film-Noir and is a Film that Compromises. Starting in the 1950's Film Studios were Under Pressure from Anti-Communist Crusades and Film-Noir, with Some Exceptions, saw Capitulation Brought On by a Cultural and Political Paranoia. Careers were Lost and Campaigns Begun by Right-Wing Groups "Forced" Movie Makers to Light the Dark Shadows of American Life Appearing that they Didn't Exist.Overall, this is One of Those Film-Noir from the Fifties and Stickler Fans were Finding Their Noirs Beginning to Soften.This One is Upbeat and More Conventional Movie Making. It's What We Got in the Fifties and Audiences were Given a Rose Colored View of Life. If Only that were True.

An ex-con and a dance hall girl flee the cops and a wrongful murder charge.Catch that early scene in the tacky dance hall— it's a gem. I've seen a lot of cheap dives in movies, but none I think combines atmosphere and annoyance better than this one. Between the hard dames and the 1-minute buzzer, the guys better hold onto their wallets. Then too, the Warner Bros. production manages uncommon attention to detail. Note how taxi-dancer Cay (Roman) ends the dance hall scene by soliciting another customer. That way we know she's a real hard case no matter what she's said to poor Clark (Cochran).These touches continue throughout, as with the back-and-forth wristwatch mirroring Cay's and Clark's relationship, or the heart-stopping dropped keys that unlock the carry-all car. All in all, these are the kind of deft touches that turn a good film into a memorable one.However, despite the excellence of this noirish first half, I have to agree with reviewer Teller. The second half unfortunately collapses into unremarkable melodrama. Frankly, Cay's big turnaround from loose woman to wifely Madonna is simply too complete to be believable. That transformation is signaled in her change of hair color. There, Cay washes out the dance hall blonde for the darker natural color underneath, thereby releasing the real person redeemed now by true love. However, the problem remains-- the personality contrast between the "hard-case before" and the "all-sweetness after" is simply too strong and abrupt not to draw critical attention, regardless of how worthwhile the message.That's not to say the second part is wasted. Those clapboard shacks for the transient pickers are right out of Grapes of Wrath and just as realistic. Plus, Clark's personality remains volatile and believable, though undergoing the inevitable softening. I just wish the film had modulated Kay's change in a similarly subtle manner. Then we might have had a memorable whole instead of a memorable half.

Yeah, I know, Scarlett O'Hara's favorite maxim. If by some weird set of circumstances this thoughtful little gem shows up on your TV after the latest infomercial, tape it, go to bed, and sometime when you're in the mood for some reflective film watching, shove it in the VCR maw. Steve Cochran plays a really dumb guy who gets entwined with Ruth Roman's cynical, smart loser dame through a series of preposterous events. If J. D. Salinger had written a crime film, it would have probably turned out like this. Why are films like this so hard to find? Other '50's obscurities worth checking out: Eight Iron Men; Kiss Me Deadly; Rogue River; Violent Saturday; Blood And Steel; Paratroop Command; Convicts Four (actually '62, but a great prison film.) I give up, nobody seems to remember anything about movies since 1980 anyway.