Saloon entertainer Vermilion O'Toole and her former partner in crime Newt Cole escape from a train ride to prison and hide out in logging town Timberline. Meanwhile, the three sons of widower Will Hall come to town in search of a wife for their dad. Vermilion needs to lay low to escape the marshal, so she accepts the boys' offer to visit pioneer community Pine Grove. Once there, she annoys local Mrs. Grundys but eventually starts to fit in.

A man, who lives alone in his apartment, finds his ideal woman while going to the symphony. He dates her and brings her to his pad, only to find out she came to the symphony on a ticket she got from a co-worker.

Young lovers — she's a child of the ghetto, determined to escape her alcoholic, bickering parents; he's a socially prominent attorney with a long-standing health problem — attempt to defy every obstacle to their romance and ultimate marriage.

An Air Force pilot finds romance with his war buddy's widow.

In 1899 Alaska, miners have to protect themselves from a phony legal team trying to steal their gold claims.

Jim Harvey is hired to guard a small wagon train as it makes its way west. The train is attacked by Indians and Harvey, hoping to persuade Aguila, the chief, to call off the attack due to Harvey's having saved his son's life, leaves the train to negotiate. He is captured and the rest of the train is wiped out except for two sisters. Escaping and showing up in town later, Harvey is nearly hanged as a deserter, but gets away. Eventually caught by the sheriff and his posse, they are attacked by Indians. This time the Indians are defeated and Aguila, captured and dying, reveals the identity of the white man who engineered the initial attack on the wagon train, just as the perpetrator rides up behind them.

Questioned as a murder suspect, solid (but drunk) citizen Al Willis attacks his police questioners, is beaten, and swears vengeance against them. Next night, Lieut. Parks is murdered; Willis is the only suspect in the eyes of tough Chief Conroy, who pursues him doggedly despite lack of evidence. The obsessed Conroy is dismissed from the force, but continues to harass Willis, who flees to a sleazy town on the Mexican border. Of course, Conroy follows. But which is crazy, Conroy or Willis?

Lana Turner and Anthony Quinn are lovers who murder Lana's cruel, but wealthy husband, played by Lloyd Nolan. Since Quinn is her husband's physician, the murder is easily committed, but blackmail, guilt and suspicion are the unanticipated results.

A housewife's sudden rise to fame as a soap spokesperson leads to chaos in her home life.

A young woman touring Germany is caught between a married symphony conductor and a doctor from back home.

In 1815, Michael Martin, member of an Irish revolutionary society, turns highwayman to support it, and soon becomes an outlaw. In Dublin, he meets famous rebel "Captain Thunderbolt" and becomes his second-in-command, under the name "Lightfoot."

Three years after the end of the Apache wars, peacemaking chief Cochise dies. His elder son Taza shares his ideas, but brother Naiche yearns for war...and for Taza's betrothed, Oona. Naiche loses no time in starting trouble which, thanks to a bigoted cavalry officer, ends with the proud Chiricahua Apaches on a reservation, where they are soon joined by the captured renegade Geronimo, who is all it takes to light the firecracker's fuse...

Back Street is a 1961 film made by Universal Pictures, directed by David Miller, and produced by Ross Hunter. The screenplay was written by William Ludwig and Eleanore Griffin based on the novel by Fannie Hurst. The music score is by Frank Skinner. The film stars Susan Hayward, John Gavin and Vera Miles.
The story follows two lovers who have limited opportunities to get together because one of them is married.
It was nominated for Academy Award for Best Costume Design, Color (Jean Louis). Unlike the previous film versions, this one gives Susan Hayward plenty of opportunity to appear in Jean Louis's spectacular gowns. This was a trademark of Ross Hunter's remakes of older "weepies"; he emploied the same method in Lana Turner's versions of Imitation of Life and Madame X.
Of all three screen versions of Back Street, this 1961 production took the most dramatic license with the novel. It is different from both the 1932 and 1941 screen versions in many ways - changing the names of several characters and updating the story to what was then the present day. Good examples of how the plotline was sensationalized in this third version are the attempted suicide and the fatal car crash.

Tammy leaves the river in Mississippi to attend college, developing a relationship with Tom Freeman (John Gavin). Sandra Dee replaces Debbie Reynolds in this and the third Tammy movie. This film introduces both a new theme song, "Tammy Tell Me True", and the character of Mrs. Annie Call, played by veteran Beulah Bondi. Mrs. Call ultimately moves in with Tammy at the Ellen B. and would be the catalyst for the events in the following film, "Tammy and The Doctor".

Dean Hess, who entered the ministry to atone for bombing a German orphanage, decides he’s a failure at preaching. Rejoined to train pilots early in the Korean War, he finds Korean orphans raiding the airbase garbage. With a pretty Korean teacher, he sets up an orphanage for them and others.

An airport manager tries to keep his terminals open during a snowstorm, while a suicide bomber plots to blow up a Boeing 707 airliner in flight.

Douglas Sirk takes the gloves off in this searing view of family life of 50's America. Unlike his famous melodramas, "There's Always Tomorrow" is completely devoid of any beguiling glitz and glamour to sweeten the pill. For its time it’s a bold and unusual work focusing on the husband as the deeply unhappy victim of what outwardly appears to be an ideal family.
Barbara Stanwyck and Fred MacMurray share a wonderful chemistry; very different from their famous partnership in "Double Indemnity". Stanwyck, as always, is riveting and MacMurray in his understated way turns in a particularly moving and powerful performance.
Like the best of Sirk's work the film is superbly crafted with the lighting and camera work as meticulous as ever. Perhaps owing to its lack of glamour, "There's Always Tomorrow" has been grossly neglected, being overshadowed by the great melodramas that would follow.
For Sirk admirers this is of course compulsory viewing, but it’s a film well worth taking a close look at for all.
In the bonus segment, director Alison Anders speaks of her love for Sirk calling "There's Always Tomorrow "a perfect movie".