The Long Day Closes

The Long Day Closes

By

  • Genre: Drama
  • Release Date: 1992-05-22
  • Runtime: 85 minutes
  • : 7.2
  • Production Company: Film Four International
  • Production Country: United Kingdom
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7.2/10
7.2
From 117 Ratings

Description

Bud is a lonely and quiet boy 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.

Trailer

Reviews

  • CinemaSerf

    7
    By CinemaSerf
    Why this this didn’t get even one BAFTA nomination is quite a puzzle as it’s a beautiful piece of cinema that uses it’s own industry’s nostalgia to paint a picture of a young boy longing for that intangible something we all want as our teens loom large. This story is set in a Liverpool still recovering from the end of the war, and where the young “Bud” (Leigh McCormack) lives with adoring mum (Marjorie Yates) and his three siblings. He is a quiet lad, and of course that earns him the enmity of the bullies at his local Catholic school where the cane is as much the currency as then pen. It’s not that he is lonely in any melodramatic sense, it’s that his soul is restless for a life he has seen encapsulated in his favourite place - his cinema. He could live in the place and is fascinated by everything it presents to this impressionable, open-minded, and kind-spirited eleven year old. The visuals and the glorious soundtrack are really quite strikingly used by Terence Davies here, and McCormack comes across as entirely natural throughout this engaging and remarkably unsentimental drama. There’s a lovely scene where he and Yates do a little curtain cameo of “Walk Down the Avenue” that reminded me of a youth where entertainment had to be made at home rather than just switched on, and there’s a fun game of guess the movie to be played by us as audio from the likes of “Kind Hearts and Coronets” and Orson Welles augments the proceedings. It has a more critical side too, especially as it asks questions about the benefits of a religious based education on a young man who is almost certainly never going to conform to many of it’s teachings - and that point is made even more obviously by one image that is distinctly unnerving. There is hate and intolerance here, there is hopelessness too - but there is also love, kindness and humour (usually from the sarcastically stoic Tina Malone) and sense of spirit that McCormack delivers well.

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