Tomorrow (1972)

102-103 mins | Drama | April 1972

Director:

Joseph Anthony

Writer:

Horton Foote

Cinematographer:

Alan Green

Production Designer:

Barbara Tindall

Production Company:

The Filmgroup Productions, Inc.
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HISTORY

A written statement in the end credits acknowledges the assistance of the City of Tupelo, Lee County, where the film was shot, the Community Development Foundation in Tupelo and the Oakland Community in Itawamba County, MS. Tupelo is located about thirty miles from the birthplace of William Faulkner, the author of the short story on which the film was based. The title of the film is derived from words that are spoken by the lawyer in the film and in Faulkner's original short story: "the lowly and the invincible of the earth...endure tomorrow and tomorrow and tomorrow."
       Voice-over narration in the framing story is provided by Peter Masterson, who portrays "Lawyer Douglas" in the film. The narration is set in the present, and accompanies visual flashback sequences related to the trial of "H. T. Bookwright," an event which had occurred earlier in the narrator's life. The majority of the film, which is a flashback occurring approximately twenty years before the trial, is the story of "Jackson Fentry," "Sarah Thorpe Eubanks" and her baby. Although there is a 1971 copyright statement for The Filmgroup Productions in the onscreen credits, the film was not registered by them until 1982 under the number PA-130-745.
       Faulkner's short story "Tomorrow" was first published in the SEP in 1940 and later appeared in his 1949 anthology Knight’s Gambit. Horton Foote, who won an Academy Award for his 1963 film adaptation of the novel To Kill a Mockingbird (See Entry), adapted the story into a play for the television show Playhouse 90, which aired on CBS-TV on 7 Mar 1960. The television version ...

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A written statement in the end credits acknowledges the assistance of the City of Tupelo, Lee County, where the film was shot, the Community Development Foundation in Tupelo and the Oakland Community in Itawamba County, MS. Tupelo is located about thirty miles from the birthplace of William Faulkner, the author of the short story on which the film was based. The title of the film is derived from words that are spoken by the lawyer in the film and in Faulkner's original short story: "the lowly and the invincible of the earth...endure tomorrow and tomorrow and tomorrow."
       Voice-over narration in the framing story is provided by Peter Masterson, who portrays "Lawyer Douglas" in the film. The narration is set in the present, and accompanies visual flashback sequences related to the trial of "H. T. Bookwright," an event which had occurred earlier in the narrator's life. The majority of the film, which is a flashback occurring approximately twenty years before the trial, is the story of "Jackson Fentry," "Sarah Thorpe Eubanks" and her baby. Although there is a 1971 copyright statement for The Filmgroup Productions in the onscreen credits, the film was not registered by them until 1982 under the number PA-130-745.
       Faulkner's short story "Tomorrow" was first published in the SEP in 1940 and later appeared in his 1949 anthology Knight’s Gambit. Horton Foote, who won an Academy Award for his 1963 film adaptation of the novel To Kill a Mockingbird (See Entry), adapted the story into a play for the television show Playhouse 90, which aired on CBS-TV on 7 Mar 1960. The television version starred Richard Boone and Kim Stanley and was directed by Robert Mulligan. Foote rewrote and expanded his play, which ran for twenty-five performances in 1968 at the HB Playwrights Foundation Theatre in Greenwich Village, New York City. That production was directed by Herbert Bergof and starred Robert Duvall and Olga Bellin, who reprised their roles of Fentry and Sarah in the 1972 film.
       In the original Faulkner work, the story is told in a flashback narrated by the lawyer's nephew, who was twelve years old at the time of the trial. The nephew relates that he and his uncle visited Fentry's neighbors and acquaintances after the trial and, using their recollections, were able to understand and sympathize with the reason Fentry stubbornly refused to acquit Bookwright. As noted in a Sep 1983 LAT article, Foote added the dialogue between Fentry and Sarah, none of which was in the original Faulkner story. In an Oct 1972 LAHExam article, the film's co-producer, Paul Roebling, stated that while the original story emphasized a miscarriage of justice theme, the filmmakers chose instead to develop the love story.
       Roebling was a Broadway, film and television actor, the husband of Bellin, and son of banker Mary Roebling. His partner, Gilbert Pearlman, was a former publicist for Columbia and Disney studios and later, a writing partner with Gene Wilder. According to an Oct 1969 DV news item, Roebling and Pearlman formed The Filmgroup Productions, Inc. with off-Broadway producer Davis Weinstock II. Although the partners had planned to make six films within three years, Tomorrow marked the only feature film producing effort of Roebling and Pearlman.
       Tomorrow also marked the only feature film of Bellin and the last directed by Joseph Anthony. According to the NYDN review, James Franks, who portrayed "Preacher Whitehead," and Johnny Mask, who played the young "Jackson and Longstreet," were Mississippi locals. A modern source adds Robert Raglan to the cast.
       According to a Jun 1972 Var news item, during the film's New York run, some critics considered the title to be a "poor Boxoffice come-on" and joked that the side-street marquee at the 68th Street Theatre where the film played looked like an incomplete announcement for the theater's next attraction.
       A 17 Jan 1973 Var news item stated that the distribution of Tomorrow was being "self-promoted" and privately negotiated by Pearlman and Roebling. However, a later Jan 1973 Var news item reported that Lawrence Friedricks Enterprises Inc. had been hired to publicize the film. Tomorrow had its premiere in New York, where most critics, with the exception of the NYT reviewer, Vincent Canby, highly praised the film. The Los Angeles opening was held at the County Art Museum and was sponsored by the American Film Institute. Tomorrow was entered in the Cannes, Dallas and Stratford film festivals. The National Society of Film Critics named Tomorrow as an example of the kind of film that would be honored by a new category for "neglected" films. Cue named Duvall Best Actor for his performance. According to a May 1976 Var news item, the film was on the Year's Ten Best lists of film critics Judith Crist, Gene Shalit, Archer Winsten, Wanda Hale and Jeffrey Lyons.
       A May 1976 Var news item reported that Tomorrow was acquired by Ray Blanco and Kevin Kelley of A. J. Bauer & Co., which planned to represent the film at that year's Cannes Film Festival and which was planning a re-release. According to an Aug 1992 DV news item, Gerard Depardieu considered making a French version of the film, but the project never reached fruition. According to a Sep 1983 LAT news item, Tomorrow was Duvall's favorite performance to that time.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
14 Feb 1972
---
Daily Variety
8 Oct 1969
---
Daily Variety
2 Feb 1972
---
Daily Variety
14 Aug 1992
---
Filmfacts
1972
pp. 132-34
Los Angeles Herald Examiner
19 Oct 1972
Section B, p. 8
Entertainment Weekly
23 Oct 1972
---
Los Angeles Times
13 Oct 1972
Section IV, p. 14
Los Angeles Times
28 Sep 1983
Section VI, p. 2
Los Angeles Times
30 Sep 1983
---
New York Daily News
10 Apr 1972
---
New York Times
10 Apr 1972
p. 44
New Yorker
15 Apr 1972
---
Time
24 Apr 1972
---
Variety
2 Feb 1972
p. 16
Variety
23 Feb 1972
---
Variety
10 May 1972
---
Variety
7 Jun 1972
---
Variety
5 Jul 1972
---
Variety
17 Jan 1973
---
Variety
31 Jan 1973
---
Variety
12 May 1976
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
WRITER
PHOTOGRAPHY
Dir of photog
Asst cam
Asst cam
Gaffer
Asst gaffer
Asst grip
Asst grip
ART DIRECTOR
Art dir
FILM EDITORS
Asst to the ed
Asst to the ed
SET DECORATORS
Prop master
Chief carpenter
COSTUMES
Ward
MUSIC
SOUND
Jess Soraci, Filmsounds Inc.
Sd ed and eff
VISUAL EFFECTS
Titles and opticals
MAKEUP
Hairstylist
PRODUCTION MISC
Casting
Prod mgr
Asst unit mgr
Scr supv
Scr supv
Prod secy
Spec asst to the prods
Prod asst
Prod asst
Prod asst
Prod asst
SOURCES
LITERARY
Based on the play Tomorrow by Horton Foote (New York, Apr 1968), which was adapted from the short story "Tomorrow" by William Faulkner in The Saturday Evening Post (23 Nov 1940).
LITERARY SOURCE AUTHORS
SONGS
"Angels Rock Me to Sleep," music and lyrics by Thomas Ramsey and Marion Easterling, sung by The Jackson Camp Singers.
SONGWRITER/COMPOSER
DETAILS
Release Date:
April 1972
Premiere Information:
New York opening: 9 Apr 1972
Production Date:

Physical Properties:
Sound
Black and White
Duration(in mins):
102-103
Country:
United States
Language:
English
SYNOPSIS

In Mississippi, Lawyer Douglas tells how he lost his first trial, back in the 1930s. He says he was representing H. T. Bookwright, a respectable man who, in self-defense, killed young Buck Thorpe, a known criminal and ruffian who was attempting to run off with Bookwright's daughter. Although everyone in the county expected the jury to acquit Bookwright swiftly of murder, after many hours of deliberation the jury failed to reach a unanimous decision. Despite all the evidence to support Bookwright's action, jurist Jackson Fentry, a poor but respected cotton farmer, mysteriously refused to vote for Bookwright's acquittal. After the trial, Douglas says, he felt compelled to look into Fentry's background for an explanation to his behavior. By talking with neighbors, Douglas came to realize that Fentry should never have been a jurist on the trial because of events that happened to him many years earlier: Although most of his life Fentry and his widowed father farmed the small cotton plantation owned by his family for generations, as a young man he takes a job thirty miles away as a winter caretaker at a sawmill owned by the father of Isham Russell. Isham, who tries to befriend the proud and soft-spoken Fentry, says his father will build him a small house if he stays with the job. However, for the first winter, Fentry is to reside in a building housing the boiler, which he cleans up and makes homey. On the morning of Christmas Eve, Fentry plans to walk to his father’s farm, but instead discovers that a very pregnant woman, Sarah Thorpe Eubanks, has fainted from hunger and weariness outside his hut. After ...

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In Mississippi, Lawyer Douglas tells how he lost his first trial, back in the 1930s. He says he was representing H. T. Bookwright, a respectable man who, in self-defense, killed young Buck Thorpe, a known criminal and ruffian who was attempting to run off with Bookwright's daughter. Although everyone in the county expected the jury to acquit Bookwright swiftly of murder, after many hours of deliberation the jury failed to reach a unanimous decision. Despite all the evidence to support Bookwright's action, jurist Jackson Fentry, a poor but respected cotton farmer, mysteriously refused to vote for Bookwright's acquittal. After the trial, Douglas says, he felt compelled to look into Fentry's background for an explanation to his behavior. By talking with neighbors, Douglas came to realize that Fentry should never have been a jurist on the trial because of events that happened to him many years earlier: Although most of his life Fentry and his widowed father farmed the small cotton plantation owned by his family for generations, as a young man he takes a job thirty miles away as a winter caretaker at a sawmill owned by the father of Isham Russell. Isham, who tries to befriend the proud and soft-spoken Fentry, says his father will build him a small house if he stays with the job. However, for the first winter, Fentry is to reside in a building housing the boiler, which he cleans up and makes homey. On the morning of Christmas Eve, Fentry plans to walk to his father’s farm, but instead discovers that a very pregnant woman, Sarah Thorpe Eubanks, has fainted from hunger and weariness outside his hut. After inviting her in, Fentry learns that she is homeless, as her husband Eubanks abandoned her when she became pregnant, and her disapproving family, a widowed father and three brothers, had previously disowned her when she married. Because of her weakened condition, Fentry suggests she rest on the bed and, while she sleeps, walks to the general store and buys her hard candy as a Christmas present. When she awakens hours later in the evening, he makes a pallet on the floor for himself and tells her to remain in bed the rest of the night. As if she rarely has anyone to listen to her, Sarah chatters about losing her mother at a young age and hints at a difficult life dominated by insensitive men. The taciturn Fentry listens and the next morning asks her to stay until the baby is born. For several days, they live amiably together as Fentry takes care of her. He proposes to her, but she reminds him that she is already married. When he tells her about the house the Russells will build him, Sarah accompanies Fentry to the spot on which it is to be constructed and reminisces about a big white house she saw when she was a girl. Days later, he again proposes, but she refuses, despite loving him. When Isham drops by and is surprised to find Sarah, Fentry says they are married. Fentry and Isham later go hunting, and they lay out stakes for the new house. Soon, Sarah has labor pains and Isham is sent to fetch the midwife, Mrs. Hulie. When Sarah says she is afraid to die, Fentry insists she will live and promises never to leave her, unless she asks him to. After bringing the competent Hulie, Isham waits with Fentry outside. Although Fentry says little, he asserts that Sarah will survive and constructs a cradle for the baby. In the morning, Hulie tells him the baby is a healthy boy, but confides her concern about Sarah, whom she fears may not live much longer, as she was sick long before becoming pregnant. Sarah is “played out,” Hulie says, but Fentry vows to keep her alive. At Sarah’s request, Fentry promises to raise the child as if he were his own and she then asks him to fetch Preacher Whitehead, so that they can be married. While Fentry walks the seven miles to the preacher’s house, Hulie inquires if her family should be notified, but Sarah insists that they not be told. Several hours later, Fentry arrives with Whitehead, who marries the couple in an abbreviated ceremony. Afterward Fentry tells Sarah that their house will have three rooms, a big porch and three trees, as well as flowers in the yard. She asks him to bring her the baby, but immediately dies, leaving Fentry unwilling at first to believe she is gone. Wondering why they met after she was "worn out" and why she wanted him to rear the baby instead of her own family, Fentry promises that the child will never be without anything he needs. In the morning, Fentry announces that he will return to his father’s farm with the baby. As he cannot afford a cow, Hulie sells him a goat, which must be milked every two hours, and shows him how to care for the baby. After Sarah is buried on the site where the house was to be built, Isham takes Fentry and the baby home in a horse and buggy, with the goat tied to the back. Fentry tells his father that the baby will be named after the two generals the old man served under during the Civil War, and the boy is henceforth called “Jackson and Longstreet.” As the baby grows to a happy childhood, Fentry never leaves him alone, except when he travels once a year to pay the taxes. One day, however, Isham rides up with the three Thorpe brothers, Bud, Les and Billy, who have recently learned of their nephew’s existence. They want the boy, simply because he is their “kin,” and say that Eubanks, when confronted, “gave” the child to them. Fentry tries to stop them, but two of the brothers pin him down, while the third rides off with the crying boy. Afterward, Isham explains that he was ordered by the sheriff to bring them here, and although the Thorpes presently have the law on their side, perhaps they can fight for the boy in court. Fentry walks off, without hearing him, and never again mentions the child’s name. When his father dies, Fentry works the farm alone. Years later, a young, hard-drinking, cattle thief, Buck Thorpe, who is believed to have murdered a man in Memphis, comes to town and stirs up trouble everywhere before he is killed. During Bookwright’s trial, Fentry listens, but realizes that Thorpe is Sarah's son, “Jackson and Longstreet.” During the deliberation, Fentry acknowledges that Buck was attempting to kill Bookwright, but says he cannot vote in favor of the defendant. Although the judge is forced to declare a mistrial, the following spring, in a second trial, Bookwright is acquitted. In the present, a sympathetic Douglas agrees that Fentry had no choice, because he could not act against the son he lost. Sadly, Douglas has come to the conclusion that “the world isn’t run like it oughta be run.” Admitting that he never would have guessed Fentry’s capacity for love, Douglas says that he expected several generations of poverty and hardship would have bred the feeling out of him, replacing it with only the will to endure.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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