Over the course of one day in August 1912, the family of retired actor James Tyrone grapples with the morphine addiction of his wife Mary, the illness of their youngest son Edmund and the ...
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Over the course of one day in August 1912, the family of retired actor James Tyrone grapples with the morphine addiction of his wife Mary, the illness of their youngest son Edmund and the alcoholism and debauchery of their older son Jamie. As day turns into night, guilt, anger, despair, and regret threaten to destroy the family. Written by
Marc Andreu <firstname.lastname@example.org>
In the very beginning of the film, when James sits, his cigar jumps from the left to the right hand. See more »
[Edmund has just recited a piece of poetry]
You recite it well... Who wrote it?
Never heard of him. Where you get your taste in authors...
[Motioning to Edmund's bookshelves]
This damned library of yours: Voltaire and Rousseau and Schopenhauer. And Ibsen... Atheists, fools and madmen! And your poet, this... "Baudelaire." And Swinburne, and Oscar Wilde. Whitman and Poe... Whoremongers and degenerates! When I've got three good sets of Shakespeare there you can read...
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It takes patience to sit through a 3-hour long movie, even if it is a re-creation of the greatest work of drama written in this country during the 20th century. I personally took a break in the middle of this film, ate dinner, and then came back and watched the rest of it. But Act IV I saw intact. Thank God. It was one of the most intense and insightful moments I have ever seen in a movie, revealing exactly how the present is inextricably bound up with the past. The lives of the characters are representative of OUR lives. Ralph Richardson and Jason Robards were powerful and shattering. Dean Stockwell was also quietly intense, and only Katharine Hepburn struck an incongruous note with her grotesque performance. Then again, in the context of the film, it makes sense for her character to be split off from the others. Have patience with this film - it takes a _long_ time to get to where it's going, but once it gets there, it has the potential to change the way you look at the world. Andre Previn's brief but haunting piano theme is incredibly effective; Sidney Lumet's direction is stagebound but competent. While it is true that O'Neill may never have written this masterpiece if he weren't a dissolute drunkard, think how many masterpieces he could have written if he'd been sober!
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