There’s Always Tomorrow is a bittersweet story about a family of six. The film is set in Rome in the mid-1940s, after the Liberation. But the war has left misery in its aftermath.
The primary focus is on 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) bed-ridden 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.
Delia works several jobs, involving sewing, laundry and administering injections. She also tends to the cranky and lecherous 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’s waiting for Marcella’s boyfriend Giulio (Francesco Centorame) 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 badly 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.
There’s Still Tomorrow has been shot in black and white, in the style of post-WWII Italian neo-realist films. The drama includes ironic comedic and musical interludes. I can’t say I’ve seen too many movies like it, which makes it all the more special. I found it intriguing and distressing – the way treatment of women is particularly harrowing. I had no idea where it was heading until close to the end, when the mystery is solved and the whole point of the picture becomes clear.
Paola Cortellesi is compelling in the lead. The way she plays it, Delia’s mind is working overtime to navigate the complexities of her situation. I found it easy to detest Giulio as the villain of the piece. 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. Romana Maggiora Vergano’s eyes can figuratively cut to the quick. For the most part displaying restraint, with occasional outbursts, she gives 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.
Alex First
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Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
