There's Always Tomorrow (Sirk, 1956): Barbican Cinema, 6.20pm
This is a 35mm screening that will also be accompanied by a ScreenTalk with Elena Gorfinkel, John David Rhodes and Joanna Hogg.
From the Barbican introduction: Screened on 35mm, this film’s richly detailed mise-en-scène gains new resonance through the lens of The Prop by Elena Gorfinkel and John David Rhodes. As Gorfinkel and Rhodes suggest, Sirk’s films elevate everyday objects—lamps, teacups, and furniture—to silent witnesses of emotional turmoil, amplifying the tension between characters and their environments. The domestic items in There’s Always Tomorrow become more than mere set dressing; it serves as a narrative agent, embodying the constraints of suburban life and the unspoken desires simmering beneath its surface.
Chicago Reader review:
Douglas
Sirk is best known for his highly stylized Technicolor melodramas, but
he also did superlative work in restrained black and white. There's Always Tomorrow is a virtuoso study in tones, ranging from the blinding sunlight of a
desert resort to the expressionist shadows of the suburban home where
Fred MacMurray lives in unhappy union with Joan Bennett. Barbara
Stanwyck is the old flame who turns up by accident, rekindling for
MacMurray the dangerous illusion that happiness is still possible.
Dave Kehr
Here (and above) is the trailer.
No comments:
Post a Comment