A group of ivory-tower lexicographers realize they need to hear how real people talk, and end up helping a beautiful singer escape from the Mob.

Leona Stevenson is confined to bed and uses her telephone to keep in contact with the outside world. One day she overhears a murder plot on the telephone and is desperate to find out who is the intended victim.

A woman's sanity comes into question, after she claims to have witnessed a murder from her apartment window.

A rich woman and a calculating insurance agent plot to kill her unsuspecting husband after he signs a double indemnity policy.

1941 film by Preston Sturges

Douglas Sirk takes the gloves off in this searing view of family life of 50's America. Unlike his famous melodramas, "There's Always Tomorrow" is completely devoid of any beguiling glitz and glamour to sweeten the pill. For its time it’s a bold and unusual work focusing on the husband as the deeply unhappy victim of what outwardly appears to be an ideal family.
Barbara Stanwyck and Fred MacMurray share a wonderful chemistry; very different from their famous partnership in "Double Indemnity". Stanwyck, as always, is riveting and MacMurray in his understated way turns in a particularly moving and powerful performance.
Like the best of Sirk's work the film is superbly crafted with the lighting and camera work as meticulous as ever. Perhaps owing to its lack of glamour, "There's Always Tomorrow" has been grossly neglected, being overshadowed by the great melodramas that would follow.
For Sirk admirers this is of course compulsory viewing, but it’s a film well worth taking a close look at for all.
In the bonus segment, director Alison Anders speaks of her love for Sirk calling "There's Always Tomorrow "a perfect movie".

An embittered woman seeks escape in marriage, only to fall for her husband’s best friend.