There’s Always Tomorrow (Douglas Sirk, 1955)

I re-watched There’s Always Tomorrow again last night and was left with a renewed appreciation:

The mise-en-scene is as expressive as you’d expect, the themes an inverse of the typical representation of the family in films of the time. Here family life is lit as a noir, with all the trauma, blockages, frustrated desires evoked by the lighting (the cinematography is by the great Russell Metty)>

The house is a prison

Screens, mesh, darkness, depth. Longing in the depths, out of reach, but framed for us.

Family gets in the way:

Children are frightful:

..and there are so many barriers to the fulfilment of one’s hopes even the light cries:

William Reynolds basically plays the same role he will do later in All That Heaven Allows: the stuffy, priggish, selfish, son who can’t conceive of a parent having an interest other than their children and makes sure to block it.

It was wonderful.

José Arroyo

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