BasicLogic Suppose this boy stayed with Fentry and grew up in his cotton farm, lived a simple and true life like Fentry himself and Fentry's father, the kid would have grown up a decent person and helped Fentry and later inherited the farm. But the fate didn't turn out like this, the bloodline and legal right enforced Fentry to give up the kid to a bunch of low lives of the Thorpe family, and later changed the boy to a worse and bad person, a rascal and a thief, then died from gun shot from a girl's father, when he tried to lure the daughter to elope with him.What a sad story. Fate is really a bitch that she never gives a darn to we folks.The only thing that I didn't quite get it is when the young boy was young, he was a bleach blond, yet when later showed when he was killed, his hair was dark brown or even in black. Could a blond kid when he grew up, his hairs would change into complete dark brown or even black? If the answer is no, then, the director and the producer(s) of this film did a careless job, making a film with one bad flaw.Anyway, Faulkner's stories are always like this dark and hopeless with lot of dirt poor illiterate folks in the deep South. I was told until today, such situation never changed, folks over there are still poor beyond imagination. Is America a really rich and developed country? I doubt it.

brownekar It would be a terrific story if they weren't trying so hard to mimic the hokey backwoods dialect. The story is genuine and heartwarming, but it gets lost in trying to figure out what they are saying with dropped words and syllables. Duvall is, as always, good at his craft, but he falls short here with the dialect issue - I kept picturing Billy Bob Thornton in Sling Blade....love me them taters..... THe other characters are not recognizable faces, but they carry on well enough into the story. It starts out a little bit strange in that you are in the courtroom at the end of the story then flashing back to the attorney's thoughts on the jury. All this is happening as the credits roll so you aren't sure if it's really important or not, then you realize it is critical. It was a bit slow, but I'm glad I watched it as Faulkner is a superior writer.

whpratt1 This is a very down to earth film story written by William Faulkner concerning a cotton farmer named Jackson Fentry, (Robert Duvall) who lives in the South and he is a poor person but also works as a watchman over a saw mill during the Winter. One day Jackson goes outside and hears the sound of a person in distress and discovers a woman, Sarah Eubanks, (Olga Belin) who is pregnant and he decides to help her and he takes good care of her. As the picture moves on the story becomes quite interesting and you will never be able to figure out just how this great film ends. The pace of this film is very slow and the actor Robert Duvall creates a great Southern accent and speaks his lines with a real Southern drawl along with a great actress, Olga Belin. Enjoy.

zetes Based on a William Faulkner story to be found in the collection Knight's Gambit, possibly his best work written after WWII, Tomorrow is the story of a dull Southern man who falls in love with a pregnant woman whose husband has run away and then raises the child. The script, written by Horton Foote (who won an Oscar for his screenplay for To Kill a Mockingbird) is decent, but it straightens out Faulkner's labyrinthine plot (told only in about 14 pages) in such a way that it erases a lot of the emotional complexity. It's so straightforward that it becomes sort of dull after a while. The framing story seems like it is retained in the film because it wouldn't make much sense without it, but it isn't retained very well at all. The film also does not have much of a Faulknerian mood, either. Faulkner's world is a sad place, but it's not cold. The sparse black and white photography in the film is wrong for the mood. It seems very inspired by Carl Th. Dreyer - I'm almost positive of it. Several shots especially reminded me of Day of Wrath and Ordet. However, it all may have worked if not for the performances. Usually when you hear of Tomorrow, you hear how amazing Robert Duvall is in the lead. But for my money, this is easily his worst performance. One of them, anyhow. He displays his emotions well enough through his movements and facial expressions, but, for some unknown reason, he comes up with this way of speaking that is simply grating. It's cartoonish. And you've heard this voice if you've ever seen Billy Bob Thornton's 1996 film Sling Blade - Thornton stole the voice straight from Duvall. It was kind of annoying in Sling Blade, but at least that character was mentally handicapped. Duvall's isn't, but you might think he is. It's an execrable performance. It's also a very stage-bound performance (the adaptation is tertiary, and was a play before it was a film). Olga Bellin, who plays the pregnant woman, is not nearly as bad, but her performance also seems false. She talks endlessly (the character never really appears in the short story), and is very annoying with her affected accent. In fact, even counting the supporting players, I've never seen a film with such affected performances as Tomorrow. The only natural performance in the film is from the young boy, Johnny Mask. Tomorrow is worth a look, especially for Faulkner aficionados, but it is a failure. 6/10.