David Lean did this 1000 times better in Brief Encounter. Dated. Wife is oblivious to any unpleasantness. It is unbelievable that she would dismiss her husband's concerns or her son's strange behaviour with a "What a pleasant evening!" Same when Norma says to Cliff that he has a wonderful life with his family when he is desperately unhappy. Real communication is lacking between EVERYONE in this movie except the two lovebirds Vinnie and Anne. That much incommunication without someone confronting the situation is hard to believe. SPOILER: Norma knew that Cliff's main complaint is that his family is TOO perfect - listen to how polite everyone is to one another. (An atmosphere Cliff is as responsible as anyone for - witness his family dinner scene when Norma visits). Cliff would not have our sympathy if he left Marian. Interesting that the Groves sleep in a double bed but Hollywood has made sure they have separate mattresses! Was Sirk influenced by Lean?

This version of There's Always Tomorrow plays a tad better than the original version that Universal Pictures did in 1934. For one thing the overwhelming theme of the Great Depression is not present on the screen and the kids are a bit less shallow than those of the originals.Fred MacMurray is a wealthy toy manufacturer who is alienated by his family especially his kids. Wife Joan Bennett takes dependable Fred for granted and the kids, Gigi Perreau, Judy Nugent, and William Reynolds just see him as a cash cow. When an old flame played by Barbara Stanwyck comes to town the results are inevitable. This is the fourth of four films that Fred MacMurray did with Barbara Stanwyck and while fans of both should be pleased it's hardly in the same league as Double Indemnity. Douglas Sirk who did so well by Rock Hudson in the Fifties directed this version of There's Always Tomorrow. It has the requisite number of suds for the glorified soap opera that it is.

Stylish drama acted expertly by super professionals. The powerful duo of Stanwyck and MacMurray excel when paired together and this is a fine example of that. Sadly this film is somewhat obscure, a shame since it really does examine in simple terms the crisis a man faces when he realizes he has fallen into a rut without being aware of it. Another winner from Sirk and perhaps even better then some of his more renown films, which are certainly enjoyable if sometimes over the top and a little lurid, since this drama is muted and closer to real life. The problems the film examines seem rooted in the 50's consumerism but by looking a little deeper they are revealed to be universal and timeless issues. This was the final pairing of Barbara and Fred, all their collaborations are worth watching, although The Moonlighter is rather sketchy, but this is the only one showing them as a mature pair and it's a pity they didn't have a chance to make perhaps one more when they had reached old age since they brought out the best in each other.

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.