The Long Day Closes (1992)

Director:

Terence Davies

Writer:

Terence Davies

Release Date:

28 May 1993 (USA)

Genre:

Biography | Drama | Family

Plot:

The Long Day Closes is the story of eleven-year-old "Bud." A sad and lonely boy, Bud struggles through his days...

Plot Keywords:

Autobiographical | Sequel | Independent Film

Awards:

2 wins & 1 nomination

Cast

Marjorie Yates	...	Mother
Leigh McCormack	...	Bud
Anthony Watson	...	Kevin
Nicholas Lamont	...	John
Ayse Owens	...	Helen
Tina Malone	...	Edna
Jimmy Wilde	...	Curly
Robin Polley	...	Mr. Nicholls
Peter Ivatts	...	Mr. Bushell
Joy Blakeman	...	Frances
Denise Thomas	...	Jean
Patricia Morrison	...	Amy
Gavin Mawdslay	...	Billy
Kirk McLaughlin	...	Labourer / Christ
Marcus Heath	...	Black Man
Victoria Davies	...	Nun
Brenda Peters	...	Nurse
Kerl Skeggs	...	Albie
Lee Blennerhassett	...	1st Bully
Peter Hollier	...	2nd Bully
Jason Jevons	...	3rd Bully

Directed by
Terence Davies

Writing credits (in alphabetical order)
Terence Davies

Produced by
Ben Gibson	....	executive producer
Colin MacCabe	....	executive producer
Maureen McCue	....	associate producer
Olivia Stewart	....	producer
Angela Topping	....	producer

Original Music by
Bob Last
Robert Lockhart

Cinematography by
Michael Coulter

Film Editing by
William Diver

Casting by
Doreen Jones

Production Design by
Christopher Hobbs

Art Direction by
Kave Quinn		(as Kave Naylor)

Set Decoration by
Karen Wakefield

Costume Design by
Monica Howe

Makeup Department
Aileen Seaton	....	hair designer
Aileen Seaton	....	makeup artist

Production Management
Chris Harvey	....	production manager

Second Unit Director or Assistant Director
Gus Maclean	....	assistant director

Art Department
Stewart Cunningham	....	props
Gordon Fitzgerald	....	property master
Tracey Gallacher	....	art department assistant
Patrick Harkins	....	props
Piero Jamieson	....	props
Karen Wakefield	....	production buyer

Sound Department
Alex Mackie	....	supervising sound editor
Adrian Rhodes	....	sound re-recording mixer
Aad Wirtz	....	sound re-recording mixer
Garry Fiferman	....	sound re-recordist (uncredited)

Visual Effects by
Martin Body	....	rotoscope artist

Camera and Electrical Department
Jerry Kelly	....	clapper/loader
Chris Plevin	....	focus puller
Gary Romaine	....	key grip

Costume and Wardrobe Department
Marion Weise	....	set costumer

Editorial Department
Trevor Brown	....	colorist

Other crew
Jeff Bowen	....	location manager
Andrew MacDonald Brown	....	location manager
Richard Morrison	....	title designer
Carol Thompson	....	continuity
Dan Zeff	....	production assistant

Production Companies

• British Film Institute (BFI)
• Channel Four Films

Distributors

• Alliance (1992) (Canada) (theatrical)
• Bac Films (1992) (France) (theatrical)
• Alta Films (Spain)
• Look Filmes (Brazil) (VHS)
• Manuel Salvador
• Sony Pictures Classics (1993) (USA)

Other Companies

• Sapex Scripts  post-production script services

Also Known As:

Runtime:

85 min

Country:

UK

Language:

English

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

UK:12 (theatrical rating) | UK:PG (video rating) | Singapore:PG | Australia:PG | Finland:K-10/7 | Spain:13 | USA:PG

Filming Locations:

Liverpool, Merseyside, England, UK

Company:

British Film Institute (BFI)

Trivia:

Received a 10-minute standing ovation when it premiered at the Cannes Film Festival (although it ultimately went home empty-handed).

Movie Connections:

Features The Ladykillers (1955)

Soundtrack:

Ae Fond Kiss

wonderfully visual

In reading reviews of this film, I often came across criticisms such as lack of character development and plotless to the point of boring, but this film is anything but so. At times it can slow down and lose your attention, but if you keep paying attention to all 84 minutes of it, it is ultimately a rewarding film; one of the most rewarding I've seen in a while. Films are a visual medium and reliance on the other arts (such as the script) can often deter from what pure film can do. Through beautiful cinematography, camera angles and compositions, Davies gives a portrait of childhood more heartbreaking and affecting than most I've seen. Every shot melts into the next one with such precision, it's as if poetry is being written with a camera. Music flows through the film with the same precision, creating a profound emotional effect in every scene. Though the acting is minimal, the mother and Bud (Marjorie Yates and Leigh McCormack) are faultless. Bud's childhood obviously mirrors the director's own life. He is a shy and sensitive boy who many don't understand (except for his family) and who is dismissed by many of his peers as a "fruit." Bud's possible blossoming homosexuality is handled very subtly. As a matter of fact, everything about this film is subtle, including his love of the movies which is rarely merely shown on the screen. Much of the film is suffused with bits of dialogue and songs from films, showing that this is a part of his life. Whenever Orson Welles' narration from The Magnificent Amberson's comes on, you feel warm contented, just as Bud seems to be. You feel certain that this boy will become a great filmmaker some day. And he did.