One More Tomorrow (1946)

Approved   |    |  Comedy, Drama

One More Tomorrow (1946) Poster

Shiftless playboy Tom Collier lives to jump from party to party--until he meets photographer Christie Sage. Through Christie, Tom takes over the ownership of The Bantam, a liberal magazine ... See full summary »



  • Ann Sheridan and Jane Wyman in One More Tomorrow (1946)
  • Dennis Morgan and Ann Sheridan in One More Tomorrow (1946)
  • John Loder and Alexis Smith in One More Tomorrow (1946)
  • Dennis Morgan in One More Tomorrow (1946)
  • Ann Sheridan and Alexis Smith in One More Tomorrow (1946)
  • John Loder in One More Tomorrow (1946)

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26 December 2007 | Doylenf
| Watchable only for the Warner players...another Philip Barry misfire...
Based on a lesser known Philip Barry play called THE ANIMAL KINGDOM, ONE MORE TOMORROW was held back three years by Warner Bros. during the war years (much like DEVOTION and THE TWO MRS. CARROLLS), at a time when the studio had a backlog of films on hand that they were in no hurry to release.

This one is a passable comedy that relies on star talent to make it watchable. ANN SHERIDAN is her usual spunky self as the independent photographer, DENNIS MORGAN is charming as the playboy she spurns, and ALEXIS SMITH does her catty best as "the other woman", while JANE WYMAN and JACK Carson lend some cheerful support.

The dialog strives to be smart and sophisticated. Typical scene: JOHN LODER says to ALEXIS SMITH: "You are the most selfish woman I ever met." She replies coolly: "Thanks for the compliment."

The cast is very good, including THURSTON HALL as Dennis Morgan's wealthy father and everyone handles the material with a deft enough touch. But there's nothing special about the story, another example of Barry's infatuation with telling stories about the idle rich but with less wit than usual.

The pleasure of watching Morgan, Sheridan, Wyman, Carson and Smith at work is the only possible reason for spending time with this light hearted but dull Philip Barry comedy that never really comes to life, not even when REGINALD GARDINER shows up with a discourse on liberal magazines.

Peter Godfrey directs the whole thing in sluggish fashion.

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