Laikals The greatest movie ever made..!

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Hulkeasexo it is the rare 'crazy' movie that actually has something to say.

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

lavatch Based on the 1940 story by William Faulkner, Horton Foote's screenplay captures the essence of Faulkner's vision of Deep South in the aftermath of the Civil War and Reconstruction.Robert Duvall delivers an unforgettable performance as Jackson Fentry, a humble farmer leading a hardscrabble life with his father. While serving as a caretaker at a ramshackle saw mill, Fentry unexpectedly finds an exhausted, pregnant woman at his doorstep. After playing the role of good samaritan, Fentry begins to raise the infant child delivered in his makeshift living quarters. A priest arrives and marries the couple. Shortly thereafter, the woman dies, and Fentry devotes his heart and soul to the upbringing of the little boy.The final portion of the film delivers an even greater emotional punch when the boy, named "Jackson Longstreet" after the Southern Civil war generals under whom Fentry's father served. The film's framing device is a murder trial of a man who eventually shot and murdered Jackson Longstreet. The dramatic tension of the ending comes from the selection of Fentry as one of the jurors in the trial.The film brilliantly conveys the world of Faulkner with the unforgettable characters. Sudie Bond is magnificent as the midwife, and Olga Bellin is equally stunning as the pregnant woman seeking to flee from her reprobate husband. The stunning black-and-white cinematography is especially dynamic in the lighting effects, illuminating Bellin's face during her anguished death after childbirth. Above all, the film is worth viewing for Duvall, especially his vocal characterization. It is small wonder that writer Horton Foote and Duvall became virtual soul mates in later films.

jimbyrd-143-948957 I grew up in the 40's & 50's in the Ozarks in the proximity of people like this. The accent and elocution was right on for many of the dirt poor of the Ozarks and probably for Mississippi. I think shooting it in black and white added to its poignancy. The wardrobes were also right on. As a child riding the school bus, I remember fellow bus riders who had dirt floors in their shacks or dirt berm homes and then one rider whose father had an airplane close to their large house. It was almost a surreal experience, but it was real as this movie could have very well been real. Faulkner reminded me of O'Henry when it comes to a great short story.

dcalan A lonely sawmill operator in the Mississippi Delta, Jackson Fentry, assumes the responsibility of caring for a fleeing pregnant woman. He falls in love with her and pleads with her several times to marry him. She finally relents after the baby is born. He then cares for the baby as his own child and they become very attached. When the child is three or four years old, his unsavory uncles and mother's family come and virtually kidnap him. Fentry is devastated but goes on with his life. Years later he refuses to vote guilty while a member of the jury in murder trial, and this story explains why.Faulkner is so tied to place that most attempts at filming his works fall short of conveying his intent. Tomorrow, however, really does look right, and only The Reivers has conveyed as much sense of place. Duvall's sensitive performance is played off perfectly by Olga Ballin's Sarah. She is whimsical without being fey and tragic without being lugubrious. Duvall's accent is a little trying at first, but once you listen for a few minutes, it resonates as the only possible way his character could express himself. The grinding poverty of the rural South from 1865 until after World War II comes across vividly. The tableaux depict the stark dignity of these sharecropper's lives as eloquently as Let us Now Praise Famous Men by James Agee and Walker Evans. Duvall has a right to be proud of this performance.

bransonk Tomorrow is one of the finest movies I have seen. Duvall was excellent in this movie, and even he points back to this as his finest work in cinema (I read an article once in which Duvall said that this role was his "King Lear"). The story is simple but significant. The impact of it is substantial. It is not a movie for hard-hearted cynics. Although it is not sappy, and by no means is it over-the-top (understated is a much better description), the movie does require a man to peel back his macho veneer and and try to identify with a life situation many men may find almost ridiculous (or horrifying) in this day, i.e. a life of faithful love and service. As such, this film would not be a top pick of fans of "The Man Show", or anything on MTV, for that matter. It is a gutwrenching story of sacrifice and self-denial; in other words, it is a REAL love story that brings to mind the love of God for the unlovely.