After Tomorrow

Moviecut—After Tomorrow

After Tomorrow

"Back Street" brought down to roaches, clinging 'n swinging moms and basement cold water flats! Depression Dirge Tune: "All the world will smile again. Dialogue punctuated by the "Aw! Gees! and "Swells" vocabulary of that inchoate time. Grace notes: Clinging mom's Wedding Gift: a bra wafted aloft. Silver plated wedding gift (for 4) from co-workers. Nostalgic Notes: Doctor conveniently across tenement street. No Radio! No fans!No fridge! Surprises: Anti-smoking message and barely chaste lovers. Ending: Erotic Niagara Falls. Better than North by Northwest but in the tradition of "Our Daily Bread", the"Crowd" and "Beggars of Life".

While Marion Nixon is OK playing the lead role, she's kind of doing a Janet Gaynor impersonation. Perhaps the movie would have been even stronger with the genuine article. But again Nixon is good; my previous experience with her was seeing her in the Cagney film "Winner Takes All" (1932), where she's a blonde. The film is good, highlighted with a striking performance by the great Minna Gombell as Nixon's mother. The film is beautifully lit, especially during the scene where Farrell and Nixon playfully wrestle and end up on top of each other; the lighting just oozes sex; definitely a Borzage touch. The film broaches the idea of pre-marital sex (going away together for a "holiday" as Nixon euphemistically puts it), but like most other pre-code movies, firmly supports the traditional morality of waiting until marriage. But perhaps the victory is in even broaching the subject at all.

Excellent early talking picture with loads of "pre-code" racy language and situations, scandalous behavior, and a genuinely touching romance between Charles Farrell and Marian Nixon. Don't be fooled into thinking this is just another light romance. The terrific dialog is often surprisingly frank, especially when Minna Gombell -- in the performance of her life -- tells her daughter things no child should hear from a parent. Even 75 years later, that scene is genuinely shocking. All the parts are well acted, but a particular standout is Josephine Hull; her scenes with William Collier Sr. are absolutely hilarious. Direction by Frank Borzage is, as usual, nearly flawless. This film really should be much better known.