7.0/10
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18 user 13 critic

Tomorrow Is Another Day (1951)

An ex-convict and a woman fall in love, after she shoots her police Lt. boyfriend dead in self defense, and falsely leads him to believe that he did the shooting.

Director:

Felix E. Feist (as Felix Feist)

Writers:

Art Cohn (screen play by), Guy Endore (screen play by) | 1 more credit »
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Cast

Credited cast:
Ruth Roman ... Catherine 'Cay' Higgins
Steve Cochran ... Bill Clark / Mike Lewis
Lurene Tuttle ... Stella Dawson
Ray Teal ... Henry Dawson
Morris Ankrum ... Hugh Wagner
John Kellogg ... Dan Monroe
Lee Patrick ... Janet Higgins
Hugh Sanders ... Detective Lt. George Conover
Stuart Randall ... Frank Higgins
Robert Hyatt ... Johnny Dawson (as Bobby Hyatt)
Harry Antrim Harry Antrim ... Prison Warden
Walter Sande ... Sheriff
Rest of cast listed alphabetically:
Gene Roth ... Jim, Foreman (scenes deleted)
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Storyline

A man who spent his formative years in prison for murder is released, and struggles to adjust to the outside world and escape his lurid past. He gets involved with a cheap dancehall girl, and when her protector is accidentally killed, they go on the lam together, getting jobs as farm labourers. But some fellow workers get wise to them. Written by GoblinHairedGuy

Plot Summary | Add Synopsis

Taglines:

They take their lives in their hands... when they take each other in their arms!


Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

22 September 1951 (USA) See more »

Also Known As:

Spring Kill See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The newspaper story Bill reads about his release reveals he was 13 years old when he killed his father - that would make him 31 upon his release. The story also states that his trial was a "...nation-wide controversy" that spawned legislation on the age limit that a minor could be charged with first-degree murder. See more »

Goofs

When Bill/Mike opens the cottage door, he leaves the key in the lock and swings the door open to let his wife in first. As they pass through the door, the key is out of the door and in his hand. See more »

Quotes

Bill Clark: [Referring to the city] I've never been here before.
Catherine 'Cay' Higgins: [Cynically] You can get a sightseeing tour for a buck.
See more »

Connections

References Paris Calling (1941) See more »

Soundtracks

Get Happy
(uncredited)
Music by Harold Arlen
Played when Bill gets a new suit
See more »

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User Reviews

Two Conflicting Halves
14 January 2012 | by dougdoepkeSee all my reviews

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.


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