Tomorrow We Live

1942
Approved
1 Std. 25 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

John Clements and Greta Gynt in Tomorrow We Live (1942)

Füge eine Handlung in deiner Sprache hinzuA mayor's daughter poses as collaborator to help British agent escape to England with vital information to help the allied war effort.A mayor's daughter poses as collaborator to help British agent escape to England with vital information to help the allied war effort.A mayor's daughter poses as collaborator to help British agent escape to England with vital information to help the allied war effort.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,3/10

272

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Wissenswertes
This film's earliest documented USA telecasts took place as the second entry in the American Broadcasting Company's short-lived First Nighter Theater television series. It first aired in New York City on WJZ (Channel 7) and in Chicago on WENR (Channel 7) and in Detroit on WXYZ (Channel 7) Wednesday 25 October 1950; in Baltimore Sunday 5 November 1950 on WAAM (Channel 13), in Cincinnati Sunday 12 November 1950 on WLW-T (Channel 4), in San Francisco Monday 13 November 1950 on KGO (Channel 7), in Los Angeles Tuesday 9 January 1951 on KECA (Channel 7),

Crazy Credits
The last shot shows a Cross of Lorraine, with the tile of the movie in a large arc, and with the following text underneath - "... the growing light of dawn red-hued but clear ..." The source of the text is unknown but could be based on Proverbs 4: 18 "But the path of the just is as the shining light, that shineth more and more unto the perfect day."

Soundtracks
La Marseillaise
(uncredited)
Written by Claude Joseph Rouget de Lisle
Sung by the hostages, and also heard during open titles and occasionally as a theme

Benutzerrezensionen10

Rezension

Ausgewählte Rezension

4/10

Too Soft for Ulmer

I have seen around 20 features by Edgar G. Ulmer, and this is perhaps the worst of the group. I saw very good films that surprised me, but among the not-too-good pack, even "The Naked Venus" has some redeeming value. There is nothing to do about this one. It is even unintenionally funny, as in the final confrontation between Pops and The Ghost (who goes nuts) or the "propaganda scene" the next morning. It somehow made me remember the resolution of Emilio Fernández's masterpiece "Enamorada", when aristocratic María Félix takes the "soldadera" route and decides to follow her lover and join the Mexican revolution. But there is no revolution in this one, just a silly mellow date in San Francisco, too sticky for Ulmer's cynic universe.