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    The Long Day Closes [Criterion Collection] [Blu-ray]

    Director: Terence Davies Cast: Leigh McCormack

    Leigh McCormack
    , Marjorie Yates
    Marjorie Yates
    , Anthony Watson
    Anthony Watson
    , Nicholas Lamont
    Nicholas Lamont
    , Ayse Owens
    Ayse Owens


    Blu-ray

    (Bonus DVD)

    $39.99
    $39.99

    Temporarily Out of Stock Online

    Customer Reviews

    • Release Date: 01/28/2014
    • UPC: 0715515112611
    • Original Release: 1992
    • Rating: NR
    • Source: CRITERION
    • Region Code: 1
    • Presentation: [Wide Screen]
    • Sound: [Dolby Digital Stereo]
    • Language: English
    • Runtime: 5100
    • Sales rank: 12,063

    Special Features

    New, restored 2K digital film transfer, supervised by director Terence Davies and director of photography Michael Coulter, with uncompressed stereo soundtrack on the Blu-ray; Audio commentary by Davies and Coulter; Episode of the Britsh television series The South Bank Show from 1992, featuring Davies, footage from the film's production, and interviews with cast and crew; New interviews with executive producer Colin MacCabe and production designer Christopher Hobbs; Trailer; One Blu-ray and one DVD, with all content available in both formats; Plus: a booklet featuring an essay by critic Michael Koresky

    Cast & Crew

    Performance Credits
    Leigh McCormack Bud
    Marjorie Yates Mother
    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 Mawdsley Billy
    Kirk McLaughlin Laborer/Christ
    Marcus Heath Black Man
    Victoria Davies Nun
    Brenda Peters Nurse
    Karl Skeggs Albie
    Lee Blennerhassett 1st Bully
    Peter Hollier 2nd Bully
    Jason Jevons 3rd Bully
    James Wilder Actor
    Robert Lockhart Composer
    Bob Last Composer

    Technical Credits
    Olivia Stewart Producer
    Ben Gibson Executive Producer
    Colin MacCabe Executive Producer
    William Diver Producer
    Terence Davies Screenwriter

    Scene Index

    Disc #1 -- The Long Day Closes
    1. Opening Credits [6:23]
    2. The Pictures [6:14]
    3. Daydreams [3:20]
    4. At the Fair [6:42]
    5. Christmas [7:31]
    6. Secondary School [4:58]
    7. Going Out [4:31]
    8. Lice [8:59]
    9. Erosion [3:32]
    10. Left Out [8:38]
    11. A Celebration [8:10]
    12. Bud's World [4:42]
    13. A Gradual Decay [11:38]
    1. Color Bars [:20]
    1. Discovering the Cinema [6:21]
    2. Childhood Traumas: Paternal Abuse, School Bullying, and Catholicism [9:11]
    3. The Terence Davies Trilogy and the BFI Production Board [9:05]
    4. Distant Voices, Still Lives and Critical Success [2:58]
    5. The Long Day Closes, Tracking Shots, and the Denial of Geography [6:25]
    6. Filming: the Script, Set, and Actors [13:19]

    Terence Davies' blissful, evocative and non-narrative follow-up to his Distant Voices, Still Lives follows a few months in the life of 12-year-old Bud (Leigh McCormack), in impressionistic snatches of his everyday existence growing up in the Liverpool of 1956. Bud's world is influenced by his mother (Marjorie Yates), his older sister Helen (Ayse Owens), and his older brothers John (Nicholas Lamont) and Kevin (Anthony Watson). Bud is a lonely and quiet child whose moments of solace occur when he sits in rapture at the local cinema, watching towering and iconic figures on the movie screen. The movies give Bud the strength to get through another day as he deals with his oppressive school environment and his burgeoning homosexuality.

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    Writer-director Terence Davies followed up his acclaimed Distant Voices, Still Lives with this similarly impressionistic memory piece about a young boy growing up in working-class Liverpool in the 1950s. Young Leigh McCormack portrays the passive Bud, who survives parochial school oppression by retreating to his nurturing mother and the town cinema. Though the material covers well-trod ground, Davies eschews nostalgia in favor of a more complex, ironic kind of recollection. The static pauses between scenes, the rich sepia tone of the film stock, and the rigorous, symmetrical framing of shots suggest family portraits brought to motion. At times, only the most tenuous connections can be made between sequences; the soundtrack of period pop songs is as important to the film's coherence as the images, as are the snippets of dialogue borrowed from The Magnificent Ambersons and Great Expectations.
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