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I'll Cry Tomorrow

  • 1955
  • PA
  • 1h 57m
ÉVALUATION IMDb
7,2/10
2,7 k
MA NOTE
I'll Cry Tomorrow (1955)
Deprived of a normal childhood by her ambitious mother, Katie, Lillian Roth becomes a star of Broadway and Hollywood before she is twenty. Shortly before her marriage to her childhood sweetheart, David Tredman, he dies and Lillian takes her first drink of many down the road of becoming an alcoholic. She enters into a short-lived marriage to an immature aviation cadet, Wallie, followed by a divorce and then marriage to a sadistic brute and abuser Tony Bardeman. After a failed suicide attempt, Burt McGuire comes to her aid and helps her find the road back to happiness after sixteen years in a nightmare world, not counting the first twenty with her mother.
Liretrailer3 min 00 s
1 vidéo
35 photos
BiographyDramaMusic

Ajouter une intrigue dans votre langueSusan Hayward stars as singer-actress Lillian Roth, whose rise to stardom was nearly destroyed by alcoholism.Susan Hayward stars as singer-actress Lillian Roth, whose rise to stardom was nearly destroyed by alcoholism.Susan Hayward stars as singer-actress Lillian Roth, whose rise to stardom was nearly destroyed by alcoholism.

  • Director
    • Daniel Mann
  • Writers
    • Helen Deutsch
    • Jay Richard Kennedy
    • Lillian Roth
  • Stars
    • Susan Hayward
    • Richard Conte
    • Eddie Albert
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,2/10
    2,7 k
    MA NOTE
    • Director
      • Daniel Mann
    • Writers
      • Helen Deutsch
      • Jay Richard Kennedy
      • Lillian Roth
    • Stars
      • Susan Hayward
      • Richard Conte
      • Eddie Albert
    • 40Commentaires d'utilisateurs
    • 21Commentaires de critiques
  • Voir l’information sur la production à IMDbPro
    • A remporté 1 oscar
      • 5 victoires et 5 nominations au total

    Vidéos1

    Trailer
    Trailer 3:00
    Trailer

    Photos35

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    Rôles principaux99+

    Modifier
    Susan Hayward
    Susan Hayward
    • Lillian Roth
    Richard Conte
    Richard Conte
    • Tony Bardeman
    Eddie Albert
    Eddie Albert
    • Burt McGuire
    Jo Van Fleet
    Jo Van Fleet
    • Katie Roth
    Don Taylor
    Don Taylor
    • Wallie
    Ray Danton
    Ray Danton
    • David Tredman
    Margo
    Margo
    • Selma
    Virginia Gregg
    Virginia Gregg
    • Ellen
    Don 'Red' Barry
    Don 'Red' Barry
    • Jerry
    • (as Don Barry)
    David Kasday
    David Kasday
    • David as a Child
    Carole Ann Campbell
    • Lillian as a Child
    Peter Leeds
    Peter Leeds
    • Richard
    Tol Avery
    Tol Avery
    • Fat Man
    Don Anderson
    Don Anderson
    • Party Guest
    • (uncredited)
    Walter Bacon
    • Alcoholics Anonymous Patient
    • (uncredited)
    Brandon Beach
    • Party Guest
    • (uncredited)
    Mary Bear
    • Wife
    • (uncredited)
    Margaret Bert
    • Woman at Alcoholics Anonymous Meeting
    • (uncredited)
    • Director
      • Daniel Mann
    • Writers
      • Helen Deutsch
      • Jay Richard Kennedy
      • Lillian Roth
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs40

    7,22.6K
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    Avis en vedette

    7PudgyPandaMan

    Based on Lillian Roth's autobiography - Hayward owns this role

    I was shocked to learn that this was based on a true story about a singer/actress named Lillian Roth that was at her peak in the 1930's. That was well before my time, so no wonder I never heard of her. What a sad, tragic tale of alcoholism and the destruction it wrought in this woman's life. Add to that a driven stage mom who was pimping her and her sister out for entertainment - she first appeared on Broadway at the age of six. It's one thing when a child seeks out performing - but another when a parent pushes them.

    I looked up photos of Lillian and she was a beautiful, vivacious looking woman in her youth. I didn't see any photos of her later in life - no telling what alcoholism did to her youth and beauty.

    Hayward does an amazing job bringing this tragic tale to life. You feel every bit of her painful and tortured life. At first I thought this would be a typical 50's melodramatic soap opera tale. But it goes much deeper into a strong character study of this unfortunate woman's life and the leeches that attached themselves to her. I have not seen many of Hayward's performances but this undoubtedly has to be one of her finest. I was also impressed that Hayward did her own singing in this and did a good job of imitating Roth's deep vocal ranges and theatrical style. I listened to some of Roth's tunes on iTunes and was impressed with the similarity. However, if Roth were on American Idol today, Simon would slam her for being "over-the-top", too theatrical, and "over-singing". But that was the style back then.

    My only criticism is that I'm not sure they went for realism in the retelling of the tale. It looks to be set more in the modern time is was filmed (1950's) rather than 30's and 40's when most of the events took place. Also, they kept Hayward's hair red rather than dark brown like Lillian's. Other than that, it was a very good film.
    7planktonrules

    The film is very good and yet very bad---a strange combination, that's for sure.

    As a history teachers and film nut, the first thing I noticed about this movie was its very anachronistic sets, costumes and hairstyles. Now I am not saying it's a bad film, but it was very sloppy in portraying the life story of Lillian Roth. The film is supposed to stretch from about 1916 to 1955--but ALL of it looks like 1955. While this is occasionally a problem in films, I can't recall seeing one worse when it comes to replicating the era in which it was supposedly set. This is odd when you think about it, as this was a prestige film--with an expensive cast. So, you'd think they would have tried harder to get the look of the film right.

    When the film begins, it's about 1916 and young Lillian is out on her first tryouts with her mother in tow. Suddenly, the film jumps some time in the future--when Lillian is an established star and life is pretty good (this would be about 1930). It's odd because not once were you told WHEN this film was occurring and it was odd that it just jumped ahead so quickly. It also skipped much of Lillian's life even when she was successful--and there was no mention of her film career or stage successes. Again, a bit sloppy.

    What WAS done well was portraying the downward spiral of Miss Roth--especially the effects of alcohol on her functioning. In many ways, this aspect of the film and Susan Hayward's acting were the highlights of the movie. Her life as a drunk was every bit as vivid as Ray Milland's in "The Lost Weekend"...no, perhaps more so. While I am not a huge Susan Hayward fan, in this sort of loud and intense performance, she was at her best. Subtle was not her forte--and here she is well matched to her skills as an actress.

    Now you need to see this bio-pic not as a literal version of the life of Lillian Roth. It's more like the paraphrased and altered life. While she was married many times, most of these marriages aren't mentioned and the men who she did marry in the movie were NOT the men she actually married--the names were different and I have no way of knowing if they were like the men in real life. So, for its quality as the actual life story of Roth, I'd give this one a 2 or maybe a 3. But, for its portrayal of alcoholism and its effects on her as well as its entertainment value, it deserves a 10! Its portrayal of her life change through AA is quite inspiring but not quite as good--simply because it implies that there is a 'finish' to sobriety (such as her sponsor telling her she no longer needs a sponsor and that she's 'graduating' from AA--two things that are NEVER true). This is very strange, I know, but the film is so good and so bad at the same time--it's a real mixed bag. Overall, I'd say the film is a solid 7 and is well worth seeing.

    By the way, when Hayward first sings "Red, Red Robin" on stage, look carefully when it shows her and the audience. If you look really carefully, you can see that the audience was NOT originally in the scene but it was added afterwords--just look for the jittery border that separates the two. It's probably only noticeable on a very large TV and you have to be looking for it.
    8dlbhina622

    Beautiful, ethereal, but still with home-girl qualities

    I have no doubt that this was both Susan Hayward's and Jo Van Fleet's finest performances. The two actresses show a profound understanding of the limits of a mother-daughter relationship, as well as a deep, gut-wrenching well of female emotion that, well, is hardly seen on screen. When Lillian runs into the hospital to find an empty bed where David was, and realizing that he is dead, collapses in tears: not overplayed, not hysterical, but as real a scene only a seasoned, highly professional actress could play.

    The story is interesting, if not with a little over-indulgence, but it is, after all, a biography. I would pay any price to see Ms. Hayward play this role, with her tragically expressive eyes, her ethereal yet next-door qualities. She deserved an Oscar for this role.
    10bkoganbing

    My Life Was Never My Own

    I'll Cry Tomorrow was the title of the autobiography of Lillian Roth, former singing star of the Twenties and Early Thirties whose career like her contemporary Helen Morgan took a nose dive into the toilet. Unlike Morgan, Roth survived to tell about it and became one of the first name clients of Alcholics Anonymous.

    That does seem like an oxymoron because as an organization AA does survive on the anonymity of its members. But Lillian Roth went public with her story as a warning to those becoming to dependent on alcohol.

    Susan Hayward gave one of her best screen performances ever in essaying the part of Lillian Roth. In fact she does her own singing here and even made a record of four of the songs she sang in this film, When the Red Red Robin, Happiness Is Just a Thing Called Joe, Sing You Sinners, and Waltz Hugette. She had previously played singers in With a Song In My Heart and Smash-Up, but was dubbed by others.

    Hayward was an amazing talent, even in some of her worst films she comes across like no other actress. Even Bette Davis who could chew scenery in a bad film to make it entertaining could never hold a candle to my fellow Brooklynite, Susan Hayward. That she could sing too, is no surprise to me.

    Probably Lillian Roth's best known screen roles are in Cecil B. DeMille's Madam Satan, in the Marx Brothers comedy, Animal Crackers and in the first screen version of the Vagabond King. The first two are out, I wish the third was also, a print might no longer exist.

    Jo Van Fleet played Hayward's mother, the Jewish stage mother from the lower depths. Van Fleet gave one of her most acclaimed performances here. Her Jewish New York accent is the only clue to Lillian's ethnic background. It's a sad portrayal of a woman who both lived vicariously through her daughter and is pushing her because she wants her not to have as tough a life as she had.

    Richard Conte, Ray Danton, Don Taylor, and Eddie Albert all play men in in Roth's life and though the protagonist is a woman, each of the guys makes an indelible image. Ray Danton plays her boyhood fiancé who dies young and helps start Lillian's downward spiral. In that Roth's story was very similar to that other star of the Twenties Marilyn Miller who lost a husband early and never recovered from it. That's all depicted in the Marilyn Miller biographical film, Look for the Silver Lining from 20th Century Fox a few years before this.

    Hayward got a deserved Oscar nomination for this part, but lost to Anna Magnani. That was a year for substance abuse because Frank Sinatra got a nomination for playing a junkie in The Man With the Golden Arm. Both Sue and Frank went through gut wrenching withdrawal scenes in both films.

    I'll Cry Tomorrow is always listed among the five best films of Susan Hayward's. It's some people's personal favorite and while mine happens to be I Want to Live, this one is right up there.
    6jhkp

    "This story was filmed on location...inside a woman's soul!"

    MGM director Charles Walters was originally assigned to I'll Cry Tomorrow; and wanted to cast June Allyson (who was not unlike the young Lillian Roth, in some respects). Walters wanted to start with Roth as an innocent girl, slowly chipping away at the surface, until the innocence was eaten away by fear. He knew June was tougher than people realized, and was certain she would excel. They had been working on the role, when Susan Hayward decided she wanted it. Taking her case to Roth herself, she eventually prevailed, causing Walters to quit, noting that Hayward had already played an alcoholic, in Smash Up (1947), and a famous singer who faced tragedy, in With A Song In My Heart (1952). By the way, if you sometimes get all three of these pictures mixed up, join the club.

    At any rate, there are people who think Hayward was brilliant in this film, and those who feel she overdid it. Not over-acting, but perhaps, over-feeling. I fall into the latter category. She starts in a rather high gear, and just goes higher. While she's commendably emotional, and touching, I think we lose track of the story and the character, due to the focus on unbridled histrionics. Eventually, she just seems to be devouring everything in her path - including the movie. If this fascinates you, well, it fascinated me, too, but is it a performance?

    Jo Van Fleet (in the role Walters wanted Mary Astor for) doesn't exactly back away from the big gesture, herself. A good actress with a nice understanding of the material, she nonetheless pulls out the stops, giving us the long-suffering mama complete with European accent (Roth found this surprising, noting that her mother only had a Boston accent). Much younger than her part, she does a good job - but the histrionics may wear you out. Especially when she and Hayward go at it hammer and tong.

    As for the singing of Susan Hayward, you probably won't be asking yourself what took her so long to decide to sing in motion pictures. She does reasonably well, but it's not the voice or style of a successful professional singer.

    Towards the end, we have Eddie Albert and his real-life wife, Margo (whom you may remember had a problem when she tried to leave Shangri-La, in Lost Horizon, back in 1937). They help Susan - I mean, Lillian - get back on her feet, with the assistance of Alcoholics Anonymous. If you're still around (and why not? It's a fairly gripping picture, overall) you may be touched, and a little relieved, that the shouting, and maybe even the singing, is over for a while.

    Histoire

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    Le saviez-vous

    Modifier
    • Anecdotes
      Prior to filming, Susan Hayward took the opportunity to study Lillian Roth's vocal style, tone and delivery when Miss Roth performed in Las Vegas. Moreover, the two women became friends during the production.
    • Gaffes
      At the AA meeting, speakers give their full names. This is inconsistent with the anonymous nature of AA.
    • Citations

      [alcoholic Lillian is desperate for a drink - mother drops the glass bottle on the floor, shattering it]

      Lillian Roth: OH! Look what ya did! And ya DID IT ON PURPOSE! You're still trying to make me do what you want, to be what you want! I can't be anything except what I am! Look, look what did you drop that bottle for? What are you trying to do, drive me crazy? Go on, GET THE BOTTLE! GET IT NOW!

      Katie Roth: All right! All right! All right, it's my fault, huh? I made you become an actress, you didn't want to, all right. I've been a bad mother, you had to support me, all right! All right! ALL RIGHT, EVERYTHING! Just this, and for once in your life you're gonna hear it! Do you know at all why I did it, do you? No you don't! Do you know what kind of a life I had, do you know what it was like to live with your father, put up with his mistakes and afterwards to be left alone with nothing? No money, no career, not young anymore, nothing to fall back on? No you don't! You don't know at all what I tried to save you from, the kind of freedom I never had! I tried to give to you by making you LILLIAN ROTH!

      Lillian Roth: So you admit it! You invented Lillian Roth! All right, now look at me. I said look at me, don't turn your face away! I'm the looking glass you created to see yourself in! All right, all right see yourself now in me! Look at this ugly picture! And then GET OUTTA HERE! But keep this picture before your face for as LONG AS YOU LIVE!

      Katie Roth: It's true! Oh, God help me! I owe you this. Every single word of it is true.

    • Connexions
      Featured in MGM Parade: Episode #1.10 (1955)
    • Bandes originales
      Sing You Sinners
      Music by W. Franke Harling (uncredited)

      Lyrics by Sam Coslow (uncredited)

      Sung and Danced by Susan Hayward (as Miss Hayward) and chorus

      Arranged and conducted by Charles Henderson (uncredited)

      Brief reprise in a medley montage by Susan Hayward (vocal) and Eddie Albert (piano)

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    FAQ17

    • How long is I'll Cry Tomorrow?Propulsé par Alexa

    Détails

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    • Date de sortie
      • 25 décembre 1955 (United States)
    • Pays d’origine
      • United States
    • Langue
      • English
    • Aussi connu sous le nom de
      • Mañana lloraré
    • Lieux de tournage
      • 300 East 5th Street, Los Angeles, Californie, États-Unis(exterior of original Hard Rock Cafe in Skid Row, seen as Roth walks past and enters stairway next door)
    • société de production
      • Metro-Goldwyn-Mayer (MGM)
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

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    • Budget
      • 2 147 000 $ US (estimation)
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

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    • Durée
      1 heure 57 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.85 : 1

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