Open main menu

Kiss Tomorrow Goodbye (film)

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."[2]

Kiss Tomorrow Goodbye
Kiss Tomorrow Goodbye.Theatrical poster.png
Theatrical release poster
Directed byGordon Douglas
Produced byWilliam Cagney
Screenplay byHarry Brown
Based onthe novel Kiss Tomorrow Goodbye
by Horace McCoy
StarringJames Cagney
Barbara Payton
Helena Carter
Music byCarmen Dragon
CinematographyJ. Peverell Marley
Edited byWalter Hannemann
Truman K. Wood
Production
company
William Cagney Productions
Distributed byWarner Bros.
Release date
  • August 4, 1950 (1950-08-04) (United States)
Running time
102 minutes
CountryUnited States
LanguageEnglish
Box office$1.7 million[1]

Supporting Cagney are Luther Adler as a crooked lawyer, and Ward Bond and Barton MacLane as two crooked cops.

PlotEdit

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.

CastEdit

ProductionEdit

DevelopmentEdit

The film was based on a novel by Horace McCoy which was published in 1948. It became a best seller.[3][4]

Humphrey Bogart and Robert Lord were interested in securing the film rights before the novel's publication.[5] In November 1949 the film rights were sold to William Schiffrin, an independent producer.[6] The February 1950 the Cagney brothers bought the film rights.[7]

In March 1950 Barbara Payton was cast.[8] Helena Carter joined the cast in April.[9]

It was the first of four movies the Cagney brothers made for Warner Bros.[10] James Cagney said he and his brother did a deal where they gave the banks the first five hundred thousand dollars the film made, in order to pay back debts from The Time of Your Lives.[11]

Filming began on 14 April 1950 at General Service Studios.[12]

The Cagneys liked Douglas' work and signed him to a multi picture contract.[13]

Restoration / re-releaseEdit

A restored version of the film was released in 2011. The film was restored by the UCLA Film & Television Archive in cooperation with Paramount Pictures, funded by the Packard Humanities Institute.[14]

The new print was made "from the original 35mm nitrate picture and track negatives and a 35mm safety print."[14]

The restoration premiered at the UCLA Festival of Preservation on March 14, 2011.[14]

ReceptionEdit

Critical responseEdit

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."[15]

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)."[16]

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).

This was the second James Cagney picture featuring William Frawley (Fred Mertz from I Love Lucy), the first being Something to Sing About (1937).

ReferencesEdit

  1. ^ "Top Grosses of 1950". Variety. January 3, 1951. p. 58.
  2. ^ Kiss Tomorrow Goodbye at the American Film Institute Catalog.
  3. ^ TOP BEST SELLERS: IN LOS ANGELES Los Angeles Times 6 June 1948: B5.
  4. ^ The Best Sellers New York Times 4 July 1948: BR10.
  5. ^ Looking at Hollywood Hopper, Hedda. Chicago Daily Tribune8 Apr 1948: B16.
  6. ^ FILM GROUP STARTS 'FLAGPOLE' AWARD: New York Times 21 Nov 1949: 28.
  7. ^ UNIVERSAL TO FILM 2 NEW PROPERTIES. New York Times 13 Feb 1950: 15.
  8. ^ MOVIELAND BRIEFS Los Angeles Times 18 Mar 1950: 11.
  9. ^ HOLDEN GETS ROLE IN 'BORN YESTERDAY' New York Times 15 Apr 1950: 11.
  10. ^ HOLLYWOOD AGENDA: SAD SACK By THOMAS F. BRADY. New York Times 6 Aug 1950: X3.
  11. ^ Cagney, James (1977). Cagney By Cagney. Pocket Books. p. 147.
  12. ^ CALHOUN AND NIGH GET LEADS IN FILM: Monogram Signs Them to Star in 'County Fair,' New Movie About Harness Racing By THOMAS F. BRADY Special to THE NEW YORK TIMES. 14 Apr 1950: 27.
  13. ^ FILMLAND BRIEFS Los Angeles Times 27 June 1950: A7.
  14. ^ a b c Todd Wiener. "UCLA Film & Television Archive: Cry Danger (1951) Kiss tomorrow Goodbye (1950)". Retrieved 2011-11-07.
  15. ^ Camper, Fred. Chicago Reader, film review. Last accessed: february 11, 2010.
  16. ^ Schwartz, Dennis. Ozus' World Movie Reviews, film review, January 23, 2007. Last accessed: February 11, 2010.

External linksEdit