The Long Day Closes

The Long Day Closes is a deeply moving and evocative semi-autobiographical drama directed by Terence Davies. Released in 1992, it features a young Leigh McCormack in the central role of 11-year-old Bud, alongside Marjorie Yates and Anthony Watson in remarkable supporting performances.

Set in the mid-1950s Liverpool, The Long Day Closes presents a quiet narrative depicting a pivotal summer in Bud's life as he navigates the bittersweet journey from childhood towards adolescence. This film is essentially an exploration of Bud's emotional and sensory experiences, rather than a plot-driven narrative.

The film unfolds through a string of interconnected vignettes, each representing a piece of Bud's reality. Leigh McCormack's portrayal of Bud is earnest and affecting. He is a sensitive, daydreaming boy, teetering on the threshold of adolescence and grappling with his sense of identity and sexuality. Bud constructs a sanctuary in the world of movies, music, and his own imagination; escaping there during his solitary hours and finding solace amidst otherwise tumultuous times.

Marjorie Yates takes on the role of Bud's mother with laudable authenticity, brilliantly depicting a woman shouldering the weight of poverty, domestic drudgery, and the complexities of motherhood. Her loving bond with Bud serves a cornerstone of the film, grounding the narrative while also providing a richly textured emotional backdrop.

Anthony Watson, in his role as Bud's older brother Kevin, provides an intriguing contrast to Bud's character. Kevin's brusque exterior and harsh realities of work form a striking juxtaposition against Bud's delicate sensibilities and dreamy escapism.

The Long Day Closes stands out in its unconventional approach in exploring the human experience. Instead of resorting to high-dramas or intense dialogues, Terence Davies employs cinematic metaphors, meticulously arranged tableaux, and a poignant blend of popular and classical music to evoke intense moods and emotions. The film excels in wooing the viewers’ senses and emotions rather than spending its energy on a linear, event-focused narrative.

Indeed, the film beautifully captures an England caught in transition between the hardships of post-war recession and the onset of a new era, with the cultural revolution of the swinging sixties around the corner. The socio-economic setting subtly permeates the screenplay; we see cramped red-brick homes, often bathed in dreary rains, encompassing the austere lives of working-class Liverpool; contrasting sharply with the vibrant glamour of Hollywood movies that Bud loses himself in.

Davies' palpable love for the cinema, too, is an undercurrent that runs throughout the film. For Bud, the world of film is a refuge from the harsh realities he lives in - and this is beautifully mirrored in the movie's visual language, which often pays homage to the classic films of the 1940s and 1950s.

Despite the gritty realities it touches upon, The Long Day Closes is never brooding or heavy-handed. There's an underlining tenderness to the film, sustained by Michael Coulter's exquisite cinematography and the use of striking visual and aural motifs. The film oscillates between the ache of nostalgia and the sweet pain of growing up, resulting in a masterstroke of cinematic poetry that remains captivating from beginning to end.

In its essence, The Long Day Closes is a timeless cinematic gem that skillfully weaves nostalgia, music, poverty, religion, and the magic of cinema together. Its contemplative pace might not captivate fans of drama-packed storylines; however, it is bound to enthrall viewers who cherish explorations of human emotions in their raw, unfiltered sense.

The Long Day Closes is a film that might resonate differently with each viewer based on individual experiences and perspectives. This deeply introspective movie will stay with viewers long after the end credits roll, not just for its story or performances but by the way it makes them feel - much like a tender, unforgettable memory from the past.