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Based on an unknown Schönberg oera from 1929, From Today Until Tomorrow exlores one night in a not-quite loveless marriage. A husband and wife return from a arty where she has flirted with another man, while he has cast an araising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more imortant than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who reviously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, erformed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, esecially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own hilosohy of comosing. It is just this juxtaosition, however, couled with Straub and Huillet’s faithful resentation, that makes the oera a comelling addition to the Schönberg canon—and the film such a challenging and intriguing exerience.
