And Now Tomorrow has one of those titles which practically screams "silver screen soap opera," and that's pretty much what it is. "Soap opera" is a trifle strong, but this is definitely a melodrama, focusing on some overwrought emotional situations, rather than a serious drama that looks at real characters and real situations. It's the kind of film that's easy to take, because it plays up to a viewer's emotions without making any real demands on him. It sets up a situation which, yes, could theoretically actually happen in real life but likely would never happen to anyone watching the picture. There's nothing necessarily wrong with this, but it's the kind of set up that needs to be handled with greater skill and originality than it is given in the Frank Parton screenplay. Irving Pichel's direction also lacks imagination, but it has a professional sheen which is not unappealing; certainly Pichel knows how to frame his story and, more importantly, how to present his stars in a good light. And it's the cast that really makes Tomorrow worth watching. Loretta Young gets to be luminous and nobly tragic, yet with fire and spirit, and Alan Ladd gets to truck in his trademark masculinity mixed with petulance. Best of all, one gets to watch Susan Hayward doing her best to steal the spotlight from Young, and to enjoy a gifted supporting cast that includes Beulah Bondi, Cecil Kellaway and Barry Sullivan.