When Tomorrow Comes

1939
Approved
1 Std. 32 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Charles Boyer and Irene Dunne in When Tomorrow Comes (1939)

Füge eine Handlung in deiner Sprache hinzuA concert pianist unhappily married to a mentally ill woman falls in love with a waitress.A concert pianist unhappily married to a mentally ill woman falls in love with a waitress.A concert pianist unhappily married to a mentally ill woman falls in love with a waitress.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,7/10

814

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

1 Oscar gewonnen
- 1 wins total

Fotos40

+ 34

Topbesetzung88

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Irene Dunne

Helen Lawrence

Charles Boyer

Philippe Andre Chagal

Barbara O'Neil

Madeleine Chagal

Onslow Stevens

Jim Holden

Nydia Westman

Lulu

Nella Walker

Betty Dumont

Fritz Feld

Nicholas

Eddie Acuff

Second Bus Driver
(Nicht genannt)

Maude Allen

Woman
(Nicht genannt)

Dorothy Appleby

Waitress
(Nicht genannt)

Jane Barnes

Waitress
(Nicht genannt)

Georgie Billings

Boy Hiding From Policeman
(Nicht genannt)

Gladys Blake

Tenement Resident
(Nicht genannt)

Stanley Blystone

First Bus Driver
(Nicht genannt)

Wade Boteler

Policeman at Pier
(Nicht genannt)

Harry C. Bradley

Reverend Mr. Morris
(Nicht genannt)

Helen Brown

Waitress
(Nicht genannt)

Sonny Bupp

Boy Hiding from Policeman
(Nicht genannt)

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Handlung

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Wissenswertes
After the movie came out, author James M. Cain sued Universal Pictures and director John M. Stahl for copyright violation. Although the movie was based on Cain's novel, "A Modern Cinderella," Cain claimed the filmmakers had stolen the scene where the two lovers take refuge in a church during a storm from his 1937 novel, "Serenade." Screenwriter Dwight Taylor admitted he'd taken the concept of the church scene from "Serenade," but had written an entirely new scene for the movie. The judge in the case ruled against Cain, saying there were significant differences between the book and movie scenes. The case established the legal principle of "scènes à faire" ("scenes to be written"), which states that certain concepts, settings, and devices (i.e. spy gadgets in spy novels) appear in multiple works of fiction and are therefore not subject to copyright laws. Today, the concept of "scènes à faire" is often used in software copyright cases, where certain types of programs, files, and variables appear in all software packages and cannot be copyrighted.

Verbindungen
Remade as Der letzte Akkord (1957)

Soundtracks
Yankee Doodle
Traditional
Played by the busboys at the labor meeting

Benutzerrezensionen15

Rezension

Ausgewählte Rezension

8/10

Dunne and Boyer Star in "Small" Film

While not as big and splashy as their pairing in "Love Affair" released the same year, Irene Dunne and Charles Boyer star in what is rather a "small" film. "When Tomorrow Comes" is a tale of unrequited love between two people who because of the man being bound to a mentally ill wife can never be together. Irene Dunne convincingly plays an underemployed ordinary working gal, one who aspires to be a singer but who is stuck toiling the days away as a waitress. Her character bonds with Boyer's character by disobeying her restaurant's "no substitutions" rule and fulfilling his request for French apple pie. This scene is endearing as she dares to simply place a piece of cheese on top of a slice of hot apple pie and cover the pie until the cheese melts--LOL, "it ain't nothing' but a thing" as Dunne goes the extra step to please the customer. From then on the two are friends and go off together to explore Manhattan and go sailing together. Their would be love affair is derailed by nothing less than a hurricane and the reappearance of Boyer's wife, played here by Barbara O'Neill. O'Neill steals the show as she portrays a woman who is mentally unbalanced, but not for the reason everyone suspects. While her illness is attributed to the death of her infant son, we soon discover that she is using this as an excuse to keep Boyer bound to her. In the scene where Dunne confronts her and pleads for her to release Boyer, we are chilled by O'Neill's psychopathic threat to do harm to Boyer should he leave her for Dunne. O'Neill is scary as hell and Dunne understands as the audience does that she is promising to do Boyer harm not merely threatening to. Because of this, Dunne knows that Boyer can never be hers and for this reason she must bid him farewell forever. The final scene where they part ways as she exits from the restaurant where they are having their last supper together is a tearjerker. No matter how many times she plays the poignant heroine who is called on to do the right thing, Dunne nails it. Her pain is our pain. Boyer's pain in losing her is also our own. Their love is lost and the pain is unbearable.