Kiss Tomorrow Goodbye (film)
|Kiss Tomorrow Goodbye|
Theatrical release poster
|Directed by||Gordon Douglas|
|Produced by||William Cagney|
|Screenplay by||Harry Brown|
|Based on||the novel Kiss Tomorrow Goodbye|
by Horace McCoy
|Music by||Carmen Dragon|
|Cinematography||J. Peverell Marley|
|Edited by||Walter Hannemann|
Truman K. Wood
William Cagney Productions
|Distributed by||Warner Bros.|
|Box office||$1.7 million|
Kiss Tomorrow Goodbye is a 1950 film noir starring James Cagney, directed by Gordon Douglas, produced by William Cagney and based on the novel by Horace McCoy. The film was banned in Ohio as "a sordid, sadistic presentation of brutality and an extreme presentation of crime with explicit steps in commission."
Ralph Cotter is a career criminal who escapes from prison and then murders his partner-in-crime. Along the way, he attempts to woo his ex-partner's sister (Barbara Payton) by threatening to expose her role in his escape. Cotter quickly gets back into the crime business—only to be shaken down by corrupt local cops. Then when he turns the tables on them, his real troubles have only started.
- James Cagney as Ralph Cotter
- Barbara Payton as Holiday Carleton
- Helena Carter as Margaret Dobson
- Ward Bond as Insp. Charles Weber
- Luther Adler as Keith 'Cherokee' Mandon
- Barton MacLane as Lt. John Reece
- Steve Brodie as Joe 'Jinx' Raynor
- Rhys Williams as Vic Mason
- Herbert Heyes as Ezra Dobson
- John Litel as Police Chief Tolgate
- William Frawley as Byers
Restoration / re-release
The new print was made "from the original 35mm nitrate picture and track negatives and a 35mm safety print."
The restoration premiered at the UCLA Festival of Preservation on March 14, 2011.
The film, often compared unfavorably to White Heat, received mixed reviews. Fred Camper, film critic for The Chicago Reader, called the film misdirected, writing, "Gordon Douglas's direction is almost incoherent compared to Raoul Walsh's in White Heat (1949), which features Cagney in a similar role; the compositions and camera movements, while momentarily effective, have little relationship to each other, and the film reads a bit like an orchestra playing without a conductor."
Film critic Dennis Schwartz generally liked the film and wrote, "This is an energetic straightforward crime drama based on the book by Horace McCoy (They Shoot Horses, Don't They?) and the screen play, which hardly makes sense and is the root of the film's problems, is by Harry Brown. Gordon M. Douglas (Come Fill the Cup/Only the Valiant) helms it by keeping it fast-paced, brutal and cynical, and lets star James Cagney pick up where he left off in the year earlier White Heat as an unsympathetic mad dog killer. This was an even tougher film, but the crowds did not respond to it as favorably as they did to White Heat (which seems odd, since it is basically the same type of B-movie)."
While not regarded as favorably as White Heat, its lower budget and maze-like plot-lines involving crooked cops, two opposing women, economically-shot scenes going to and from small interior locations, and an array of twists and turns make it something the more action-packed and mainstream White Heat wasn't: a film noir.
The outside marquee in the cult-famous movie theater scene in the horror (zombie) movie Messiah of Evil bears this movie's title (although within the theater, a trailer is playing).
- "Top Grosses of 1950". Variety. January 3, 1951. p. 58.
- Kiss Tomorrow Goodbye at the American Film Institute Catalog.
- Todd Wiener. "UCLA Film & Television Archive: Cry Danger (1951) Kiss tomorrow Goodbye (1950)". Retrieved 2011-11-07.
- Camper, Fred. Chicago Reader, film review. Last accessed: february 11, 2010.
- Schwartz, Dennis. Ozus' World Movie Reviews, film review, January 23, 2007. Last accessed: February 11, 2010.
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