A descent into Hell is triggered when "Ex-Lord" Donald Brocklebank finds that he must leave Longleigh House for London to find a way to pay for the medical treatments for his wife Nancy. ... See full summary »
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After breaking-up with his girlfriend Veronica, the unemployed John Hare rents a cheap room in an old boarding house owned by the nice Martin Stone and the landlord tells him that the house... See full summary »
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A descent into Hell is triggered when "Ex-Lord" Donald Brocklebank finds that he must leave Longleigh House for London to find a way to pay for the medical treatments for his wife Nancy. Alone, his over-protected, delusional, adult son, James, fancies himself in charge of the manor house with his terminally ill mother, and barricades the two of them into the house for a series of ever more panicked home treatments, mistakenly protecting her from the arrival of Nurse Mary and any outside help. Written by
The Longleigh House location was once a World War I hospital, the Hawtreys School for young men, and then was run as a drug rehabilitation clinic. Local reports are that at least three ghosts, an old woman, a soldier, and a child who fell 75 feet while sliding down the banisters, still inhabit the Tottenham House near Savernake, England. See more »
Hello? Hello? Yes, yes I know. No, I didn't know that. No, that's not good at all. No, she doesn't know. Hmm. Hmm. Exactly. Okay, goodbye.
They going to make it?
No, they're not.
Can I look after mummy this time.
I'm not going away.
But you always say that, you always do.
Some one's at the door!
Stop James, I said stop!
[...] See more »
Unique and Stunning Film Reminiscent of Unclassifiable 1970s Classic
Simon Rumley's "The Living and the Dead" is the kind of film I would not have expected to come out in 2006. While a drama at its core, the movie is constructed of so many other narrative and cinematic nuances and is so possessed by a kind of punk spirit that it looks and feels like it could have been one of the unclassifiable classics of the 1970s. Although only a few final episodes in the life of an aristocratic English family with a mentally ill son are illustrated, these scenes are enough through which to surrealistically distill the gradual and eventual disintegration of their lives into madness and tragedy. This portrayal of tragedy is one of the characteristics that particularly makes this film so interesting. That's not to say that there is not also the element of comedy in this film. The son's character is one that many would consider humorous, at least from a distance. But Rumley takes us deep enough into the life of the son--his private words and behavior, his relationship with his parents, his drug usage, even his dreams--until our laughter is long left behind for more serious thoughts of sympathy and fear. It is as easy to emotionally respond to this film as it is to think about it on an intellectual level, as the simple yet sophisticated dialogue is brilliantly executed and perfectly compliments the literary screenplay, professional directing, artful cinematography, and everything else that makes this film as worthy of viewing as many of the unique favorites of the past.
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