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- Nov 15, 2001
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- Neil Middlemiss
Like the slowly wilting flowers accompanying the opening credits sequence, Terence Davies’ The Long Day Closes is in part a meditation on the things that pass or have passed. A lyrical, impressionistic look at life for a young Boy in post-war Liverpool England. Despite a warm and close relationship with his mother, the young boy contends with conflict and remoteness. Teased by schoolmates, conflicted by homosexual thoughts and the guilt driven by his Catholic attendance, he is alone even within his busy home.
Studio: Criterion
Distributed By: N/A
Video Resolution and Encode: 1080P/AVC
Aspect Ratio: 1.85:1
Audio: English PCM 2.0
Subtitles: English
Rating: Not Rated
Run Time: 1 Hr. 25 Min.
Package Includes: Blu-ray, DVD
Clear Criterion caseDisc Type: BD50 (dual layer)
Region: A
Release Date: 01/28/2014
MSRP: $39.95
The Production Rating: 5/5
“♫ I’ll leave the moon above to those in love when I leave this world ♫”
In post-war Liverpool, young Bud finds solace in the movies as he escapes the drab life of northwest England overrun with a murky brown and grey aesthetic. He lives with his sweet mother and older siblings, who are much older than he. He doesn’t quite fit in at school, he seems alone in his full house, an outsider watching the world around him, shuffled by its movement, timorous from what he can’t quite connect to.Director Terence Davies has crafted something very special in The Long Day Closes. The experiences of a young catholic boy living in post-war England in a working-class home without a father, or some close variation, has been explored quite often, at least on British television, but this film is utterly unique and a singular experience. A mosaic of memories, connected only by the perspective of Bud in the film, coalesce to create an atmosphere. Moments come and go, slices of memories are reenacted and time is not always linear, yet we sense the world Davies is letting us into.The impressionistic qualities that mark The Long Day Closes are not that of an unfocused narrative but rather a non-traditional narrative structure inclined to tell its story through a mosaic of traditional scenes, fanciful diversions, and audio clips from classic films (of the era) that are layered along with a brilliant use of music from the day. And Davies clearly has a command of the film he is making. An autobiographical filmmaker at work with a deeply personal resonance with the material. In less assured hands, The Long Day Closes might flutter and flail in the composite narrative, or worse, invite derision for pretense, but Davies weaves this tale with knowing and confidence – the hand of a gifted filmmaker exploring a subject obviously close to his heart.Davies centers the camera on young Bud, portrayed by one time actor Leigh McCormack, and even when not trained upon him, what we witness is about, from, or for him. He is a lonely boy, an outsider to the rest of the world even when he’s a participant – such as his time in the classroom or playing outside as his family gathers for sandwiches on the front step. His mother, played by Marjorie Yates, is a constant for Bud; a symbol of warmth and loving in his life. It’s clear he adores her and she represents the joy in his life. And yet there is another layer in Closes, that of a gay filmmaker reflecting, or dissecting, moments of realization and the associated shame (born from the conservative era of British life) that come from homosexual thoughts and feelings. A telling moment, quite early in the film, is of Bud watching with some fascination a shirtless bricklayer across the street. When his gaze is caught by the worker, Bud’s eyes slink away, and he is unsettled. In other scenes he is taunted at school as the word ‘fruit’ is levied.But like all elements of this film, Bud’s sexuality is not necessarily the central vein of the film and, though we can draw from his burgeoning homosexual feelings and rapt guilt a line to his frequent isolation, it exists as another memory born upon the celluloid. Davies does not ascribe Bud’s remoteness with the oppressive nature of British society towards gays at that time, nor does he posit any resentment, he simply presents Bud, assembled from these slices of different memories, for us to see him during a relatively slight, yet formative, period of his life.The Long Day Closes gives us an almost abstract glimpse into the direness of a poor Liverpudlian life in the 1950s, in a dreamlike painting of a film comfortably easing between reality and fantasy, with the fantasy never far away and reality never quite as raw as life can actually be. It is all filtered through the distant memories of the filmmaker and, in that regard, could not be more, real, fantastic, beautiful, sad, or lasting.
Video Rating: 4.5/5 3D Rating: NA
Audio Rating: 4/5
Special Features Rating: 4/5
Overall Rating: 4.5/5
Reviewed By: Neil Middlemiss
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