Author Eugene O'Neill gives an autobiographical account of his explosive homelife, fused by a drug-addicted mother, a father who wallows in drink after realizing he is no longer a famous ... See full summary »
In 1944, Kay and Jane travel on an overnight train from Miami to New York, accompanied by Harry. Kay is the mistress of "The Man", a rich industrialist, whom they are to meet so that they ... See full summary »
Film adaptation of Anton Chekhov's story of life in rural Russia during the latter part of the 19th century. An aging actress Arkidana pays summer visits to her brother Sorin and son ... See full summary »
It's 1933, and eight young women are friends and members of the upper- class group at a private girl's school, about to graduate and start their own lives. The film documents the years ... See full summary »
A New York City narcotics detective reluctantly agrees to cooperate with a special commission investigating police corruption. However, he soon discovers that he's in over his head, and nobody can be trusted.
Val Xavier, a drifter of obscure origins arrives at a small town and gets a job in a store run by Lady Torrence, a sex-starved woman whose husband Jabe M. Torrance is dying of cancer ... See full summary »
Author Eugene O'Neill gives an autobiographical account of his explosive homelife, fused by a drug-addicted mother, a father who wallows in drink after realizing he is no longer a famous actor and an older brother who is emotionally unstable and a misfit. The family is reflected by the youngest son, who is a sensitive and aspiring writer. Written by
Marc Andreu <email@example.com>
Jason Robards reprises his Broadway role as James Tyrone, Jr., for which he was nominated for the 1957 Tony Award for Best Featured Actor in a Play. He also played James Tyrone, Jr., both on Broadway and on TV, in Eugene O'Neill's sequel, A Moon for the Misbegotten (1975). In his later career, Robards played James Tyrone, Sr. (the father) in several productions of "Long Day's Journey Into Night," including a 1988 Broadway revival at the Neil Simon Theater. See more »
As Edmund and James drink, Edmund picks up the bottle, but in the next shot it is back on the table. 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...
[...] See more »
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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