The greatest movie ever!

Disappointment for a huge fan!

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Maybe I was over-hyped the first time, but this grew considerably in emotional power on 2nd viewing. Robert Duvall is remarkable in this sweet, simple adaptation of a William Faulkner story by play write Horton Foote. Granted the the female lead (in what's essentially a film of a 2 character play) isn't quite as strong. But the story of a dirt poor depression farmer taking in a pregnant woman is so devoid of Hollywood sentimentality that it's familiarity is overwhelmed by it's nuanced humanity. Very well shot in black and white on an tiny budget, it's certainly an intelligent, worthwhile movie, with many very touching moments.

Like other reviewers, I was going to avoid this movie within the first few minutes because of its austere quality. Black and white, gritty, bare-boned filming and direction looking at awkward people in a strangely quiet way. A scraping by man that is one step away from Adam in implements scratching out a living suddenly comes by an ailing pregnant woman who he befriends and keeps alive by stretching the tight shoestring he's already living on, taut to its limit.But then, as the story unfolds, you realize it HAD to be shot in black and white; it had to have that raw, gritty quality. That's the nature of the story. That's the power of it.I agree, too, with other reviewers that if (as some of us have been theorizing) the woman and her child were written to be Black, that would bring several new levels of poignancy to every aspect of the film. And you can read that in as you watch and appreciate those nuances for yourself though they're not spelled out in the film. I also had the strange thought while watching of how great it would have been to have Johnny and June Carter Cash playing the leads, since this film was made in their heyday. But that's just me.Yet even as it is, this is a rare piece of coal that under the pressure of tough times shows itself to be a diamond. Not to be missed.

Bringing William Faulkner to the screen is as difficult as bringing Ernest Hemingway's works to life as a work of cinema. TOMORROW is a decent effort but is hampered by the monotone of Southern accents, especially the one affected by ROBERT DUVALL, as well as the overall drabness of the production which is so stark that it makes the story even more depressing and weary than the written word.Furthermore, there are long pauses between stretches of dialog, only a fraction of background music with the wind serving as the soundtrack for the first twenty-five minutes. So stark and slow that it becomes boring because the story is a slight one of a dirt poor farmer who stumbles upon a pregnant woman looking for shelter, takes her in, falls in love with her, and raises her child after she dies. He has a few brief years with the child on whom he lavishes only tender, loving care (as he promised the woman), and then his dreams are shattered by the arrival of her three brothers who want the child back.It's only during the last portion of the film that it gathers any excitement or strength as we see the kind man victimized by society, which makes his behavior reasonable, years later, when the framing story has him exerting a subtle sort of revenge.ROBERT DUVALL is excellent despite the use of an appalling Southern drawl, and OLGA BELLIN is convincing as the worn and weary pregnant woman, totally devoid of any glamor or make-up. But the first half-hour of the movie is relentlessly slow-paced, and the developing relationship between Duvall and Bellin is rather sketchily presented.The harrowing childbirth scene is in keeping with the total starkness of the tale which is downright depressing.Summing up: Stark and truthful, but hardly works as entertainment. The B&W photography throughout is drab and uninspired.

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.