There’s Still Tomorrow
A movie review by Alex First
Set in Rome in the mid-1940s after the Liberation and the misery the war left in its aftermath, There’s Always Tomorrow is a bittersweet story about a family of six.
The primary focus is on the wife, Delia (played by Paola Cortellesi, who has co-written and directs the film).
She and her family, which includes her husband Ivano’s (Valerio Mastandrea) father Ottorino (Giorgio Colangeli), rent a basic apartment, partially below ground.
Ivano is a brute who treats Delia and their daughter Marcella (Romana Maggiora Vergano) shamefully.
For Delia, that includes regular verbal and physical abuse.
Delia works several jobs, involving sewing, laundry and administering injections. She also tends to cranky, lecherous, bed-ridden Ottorino.
Ivano, who respects Ottorino, has total power over his wife and children, and takes every opportunity to abuse it.
He hasn’t allowed Marcella to finish school, rather putting her out to work to help make ends meet.
He is waiting for Marcella’s boyfriend Giulio (Francesco Centorame), born into a middle-class family, to ask Marcella for her hand in marriage.
Marcella’s two younger brothers, who share a bed with each other and a room with her, are ill-behaved. They fight and frequently swear.
Delia appears destined for a life of servitude and misery … and then she receives a mysterious letter that warms her heart after opening it.
There’s Still Tomorrow has been shot in black and white, in the style of post WWII Italian neorealistic filmmakers.
It is a drama with ironic comedic and musical interludes.
I can’t say I have seen too many movies like it, which makes it all the more special.
It is both intriguing and distressing – harrowing to watch in terms of the treatment of women.
I had no idea where it was heading until close to the end, when the mystery I referred to is solved and the whole point of the picture becomes clear.
Paola Cortellesi is compelling in the lead. The way she plays it, her mind is working overtime to navigate the complexities of her situation.
I found it easy to detest the villain of the piece, being Giulio. Credit to Valerio Mastandrea for his dastardly performance, wearing his family control as a badge of honour.
Giorgio Colangeli isn’t far behind as Ottorino, with the apple falling close to the tree.
Romana Maggiora Vergano’s eyes can figuratively cut to the quick. For the most part displaying restraint, with occasional outbursts, hers is a memorable and contained showing as Marcella.
There’s Still Tomorrow is a movie that says a great deal.
It paints a disturbing, historic picture, which caused me to reflect on how parts of the world continue to live under the same shadow of darkness.
Rated M, it scores an 8 out of 10. Runtime – 118mins
