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Title: The Long Day Closes (1992)
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| Cast overview, first billed only: | |||
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Marjorie Yates | ... | Mother |
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Leigh McCormack | ... | Bud |
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Anthony Watson | ... | Kevin |
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Nicholas Lamont | ... | John |
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Ayse Owens | ... | Helen |
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Tina Malone | ... | Edna |
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Jimmy Wilde | ... | Curly |
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Robin Polley | ... | Mr. Nicholls |
| Peter Ivatts | ... | Mr. Bushell | |
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Joy Blakeman | ... | Frances |
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Denise Thomas | ... | Jean |
| Patricia Morison | ... | Amy (as Patricia Morrison) | |
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Gavin Mawdsley | ... | Billy (as Gavin Mawdslay) |
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Kirk McLaughlin | ... | Labourer / Christ |
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Mark Heath | ... | Black Man (as Marcus Heath) |
The Long Day Closes is the story of eleven-year-old "Bud." A sad and lonely boy, Bud struggles through his days. With cinema as his main source of solace, he haunts the local movie-house. All the while, his family looms large in our peripheral vision as do the menacing bullies of his school, but Bud is the center of attention both from the camera's angle and from his doting family. With a gray background, the film fuses clips and audio from classic movies into Bud's dreary childhood and brings it to life with an elegance Bach would bring to your home movies. The overall effect is a montage of memory which seems to ignite flashes of recognition in the viewer. Written by Mark Fleetwood <mfleetwo@mail.coin.missouri.edu>
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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.