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| Index | 26 reviews in total |
24 out of 26 people found the following review useful:
B-E-A-U-T-I-F-U-L, 19 May 2001
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Author:
Mario Bergeron from Cap-de-la-Madeleine, Canada
This is one of the most beautiful movie I ever seen. This is a masterpiece of intelligence and cinematography. Splendid camera work and a brillant integration of music and bit of spoken words. It also captures the essence of childhood. It's simply pure poetry. Remember that films are made to be seen: in early days, it was moving pictures. Here we have that essence: we see pictures. No need to listen, no need of dialogues : just pictures, as beautiful as a painting, as photography. I'm very happy that the other viewers loves this film. But I'm a little bit sad to see that it just got 6 or something out of 10 votes. See it again and again. Taste it a lot of times.
21 out of 26 people found the following review useful:
A heartbreaking, wondrous meditation on childhood, 23 August 2001
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Author:
Bockharn from Long Island, NY
By some definition, this is a great film. It is as "still" as any movie I've ever seen (rivaled, perhaps, only by BARRY LYNDON), meditative, thoughtful. The soundtrack of pop tunes is part of the content of the film: remembered music, remembered frights, remembered ease. Director Terence Davies, in recalling his youth in Britain in the 1950s, has filmed a metaphor for growing up that resembles TO KILL A MOCKINGBIRD, plus color, minus the melodrama. This film will definitely not be to everyone's taste, but for those who are of the right age and sensibility, it may be a transforming experience.
16 out of 18 people found the following review useful:
Wistful and beautiful., 4 April 2005
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Author:
e-carson from United Kingdom
This movie has given me many hours of pleasure. Remarkably it offers nostalgia for places I have never seen and experiences I have never had. Do not seek fast moving excitement or slick dialogue when you go to see this film, but be prepared to wallow in its sad, wistful beauty. If you are a person who fares best in jovial company then perhaps this is not for you but if you have ever felt alone, or sad without knowing quite why, then you will recognise the chief character, Bud, played to perfection by Leigh McCormack. Of the many children appearing on our screens, often applauded excessively in my opinion, this child has to be one of the best in assuring the integrity of the project. There is no unnecessary music in the film but it is filled with gems which add to the overall feeling of nostalgia, as do the short soundtrack clips from cinema of the period. It is possible to switch this film on at any point and watch for a while as you might stand in front of a painting, but once I have started my VCR I cannot resist watching it in its entirety from the elegance of the title frames, through its succession of windows and its constant rain, to the inevitable fading of the light as the "long day closes".
18 out of 22 people found the following review useful:
A magnificent piece of "stream of consciousness" cinema., 5 December 2000
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Author:
gordian0 from Dallas, Texas, U.S
If you need a conventional plot line to enjoy a film, this one is not for you. If you enjoy outstanding cinematography and would like to have the experience of slipping into someone else's consciousness as their mind drifts from recollection to recollection, you will find this film magical. Set in post war England, this film is a lovely, poetic portrait of the day to day life of one family as seen through the eyes of a ~12 year old boy. It's true that the boy is going through a lonely and difficult period of his life but, one also experiences the sweetness of his loving family and the fellowship of a close knit neighborhood community. It is a view of common people finding hope and joy in each other amidst the hardships of post war England. The inspired combining of sound, imagery, and music make for a very rich film experience.
18 out of 22 people found the following review useful:
Poetry on Film, 20 October 2000
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Author:
scr1ve from England
If you see poetry as a way of looking at life- a particular awareness or
appreciation perhaps- then this film is about as close as you can get to a
representation of poetry on film (along with Davies earlier- and quite
similar biographical film- 'Distant Voices, Still Lives').
Memory sometimes reduces things into metonymy, and this could be used to
explain the beautiful simplicity of the visuals- usually emphasising a
certain aspect of living- time passing, light hitting a surface etc...
bringing it out of obscurity and making the viewer focus singularly on
that
aspect... which is why this film could be labelled transcendental.
Things
that pass, or are taken for granted in everyday life transcend themselves
in
this film.
If you have enjoyed this film I would strongly recommend that you see
'Distant Voices, Still Lives' as well as the great works of directors such
as Robert Bresson and Andrei Tarkovsky- examples of other directors whose
gaze turns life into poetry.
15 out of 17 people found the following review useful:
Vermeer in every frame, and not a note of emotional falseness, 10 August 2006
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Author:
pdxdennisj from United States
A stunning exercise in pure cinema. This is the third and final part of his autobiographical Childhood Trilogy. He uses very a very stylized presentation of snippets of memory (Proust-like) overlaid with snips of movie soundtracks and songs to evoke the emotional content of coming to terms with himself in a loving family (at last). If you have seen Visions of Light, this is what it was all about. There is not a wasted frame in this film. Beautifully conceived jump shots, sound over lays and an overhead tracking jump shot that is simply amazing. If you a looking for a plot line or "story telling" you will not find it here. If you are looking for amazingly true and honest cinema that is like moving frames of Vermeer, this is for you.
13 out of 15 people found the following review useful:
wonderfully visual, 2 November 1998
Author:
Troy Dandro from Boston, MA. USA
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.
12 out of 14 people found the following review useful:
A Beautiful Film, 2 March 2005
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Author:
roblenihan from Brooklyn, NY
"The Long Day Closes" has the kind of emotional impact that the Hollywood bunch could only dream about. There is very little in the way of plot--just a series of memories, as if a family photo album had come to life: like the family at Christmas time. No forced, artificial story lines, like Mama's Dying and We Gotta Pay the Rent--just a perfect rendering of a certain family at a certain time. If you're expecting some sappy tear-jerker, oh boy, do you have the wrong movie. The images here are so powerful, the use of music and old film dialog is so effective. I feel sorry for people who found this movie boring. You obviously didn't get it. Your loss.
11 out of 13 people found the following review useful:
A beautiful film of family life., 28 October 1998
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Author:
Anthony Glad from Brisbane, Australia
This is among the ten best films I have seen of childhood and of life in a family. Admittedly, the father is missing - one might say, mercifully - but this film shows the tenderness and humanity among the mother and children tenderly and, surprisingly, joyfully. The mother is the centre of the piece and superbly portrayed. For those who want a vision of childhood, not romanticized, this is as good as it can get.
9 out of 10 people found the following review useful:
Film making at its zenith, 4 August 2005
Author:
jcstevens9 from Whitt, Texas
Its been said that everyone has a wonderful book in them, if they only had the skill to bring it out. Terence Davies has made several quality films, but The Long Day Closes is his personal masterpiece. Evocative, nostalgic, the film depicts a childhood lost and sweetly remembered at a time and in a nation struggling to right itself following a devastating war. Davies abandons traditional film-making and works from intuition and powerful memories to create something truly special and magnificent. Certainly not for everyone. If you are moved primarily by American Idol, Wrestlemania and NASCAR pileups, and if your idea of nostalgia is reruns of Happy Days, this movie would be a waste of your time.
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