Just a wonderful performance by Robert Duvall who dominates the entire film. He reminded me a lot of Boo Radley in TO KILL A MOCKINGBIRD and though Boo didn't speak, his mannerisms were similar. Duvall's interesting accent struck me as being as much hill-billy as southern.Several minor things troubled me a little about the movie. I did expect Jackson (Duvall) to try to recapture the boy, and I was somewhat surprised by his acceptance of the seizure. The ending also was unexpected.Olga Bellin also did not appear unusually ill for a dying woman in my view either, though she did a nice job with her role. Nonetheless, this was a fine movie and the acting was just superb.

Right off, there's a couple of real serious flaws about this film. First of all, Joseph Anthony's direction is very stage-bound, hard and harsh. Second, the acting is ridiculously over-the-top. Robert Duvall, who I've liked in just about everything I've seen him, gives such an affected performance that it's hard to read his character. The accents go all over the place. Olga Bellin and Duvall sometimes seem to be from the south, and sometimes somewhere else altogether. The dialogue throughout is too polite, too in turn, as if everyone waits to speak their lines. The storyline itself is ordinary, with neither enough character development or dramatic drive to make it at all compelling.There are good points. Allan Green does some very nice work with the cinematography. The harsh, stark wintertime images really settle you in the story. The atmosphere is believable and well-developed. If it wasn't how the performances so completely failed to convince, "Tomorrow" could have almost been a good film. I really wanted to like it, but there's just not enough here to like.

Based on a William Faulkner story, this movie has the dark, gloomy, but realistic look of his work. The art direction, lighting, and costume design shows that this is a low-budget film, but it doesn't make it corny. In fact, this adds much to the authenticity of what the South was like in the late 1800s. In addition, the film is in black and white; this helps make the depressive mood of the story.Like much of Faulkner's writing, the film is done in flashback form. It opens with a murder of a young man and the trial of the man who committed the killing. It then goes back twenty years earlier to a poor, Southern farmer, Jackson Fentry.Robert Duvall is simply wonderful as Fentry, a man who is cut off from most of the world. His character is lonely but yet a naive and caring individual as he finds an ill pregnant woman (Olga Bellin) while working on a farm as a caretaker. He takes her in and cares for her. Everything seems normal for awhile, but then two tragedies happen they lead up to the present opening of the film. Everything is tied in together nicely, making a great, yet sad ending. It brings up the questions: Which is better for a child? Heredity or environment? This sounds like an excellent film that I would give a 10/10. But what made me give it a 7 was the pace. The movie was incredibly slow. This is no action, and I knew it wasn't one, but the dry, drawling, Southern monotones that the actor's spoke made it boring.

This movie predates some of Duvall's more critically acclaimed and popularly received turns, but in truth, this may be the finest acting job of his career. Duvall is this film, and he has made this kind of intense, honest character study his own (Tender Mercies, The Apostle, The Great Santini). The black and white cinematography is perfectly suited to the story and the acting. It works as a far more honest story-telling device than Spielberg's "Schindler's List." This is a must-see for Duvall fans and for fans of small, independent films as well.