Long Day's Journey Into Night (1962)
Directed by Sidney Lumet
An Irish miser, his morphine addicted wife, their debauched older son, and a gravely ill younger son. A quiet Connecticut vacation home on one foggy day in August 1912 becomes the backdrop for domestic decline.
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What critics compared Long Day's Journey Into Night to
Where would we be – we readers, playgoers, screen spectators – without the screaming matches, weeping fits and confessional unravellings of US drama, from Long Day’s Journey Into Night to East of Eden to Dallas?
Even snarky Tony Stark (Robert Downey Jr.)--who observes in the film's best moment of self-knowledge that it's all getting as long as a Eugene O'Neill ("Long Day's Journey Into Night"--I know, I know, but it works better than intended)--scans to see if there are inhabitants in a building before smashing through it with his buddy Hulk (Ruffalo).
Birdman, of course, rode the gimmick to a Best Picture win, and this year alone saw two very different (but both excellent) films– One Cut of the Dead and Long Day’s Journey Into Night— devote fully half their running time to a single, serpentine shot, both of which, according to press, are genuine.
In an undertaking like 1917, with its multiple locations, intricate action sequences, and effects shots, engineering a true one-take would be practically impossible, but here postproduction innovations have come to the rescue, allowing the filmmakers to suture together various long takes into a seemingly seamless whole (as did Bi Gan in his Long Day’s Journey Into Night).
By contrast, Gaspar Noé’s “Climax” and Bi Gan’s 3-D one-shot embedded in the last reel of “Long Day’s Journey Into Night” do achieve theatricality where "1917” fails.
Throughout the movie, Berry and Wilson deliver lines about how the moon is going to smash into the Earth with the solemn dedication of performers in a revival of Long Day’s Journey Into Night .
Allison Wilmore at Vulture says “Throughout the movie, Berry and Wilson deliver lines about how the moon is going to smash into the Earth with the solemn dedication of performers in a revival of Long Day’s Journey Into Night .”
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You could guess that this headlong tragicomedy, berserk with confessionalism, came from the household that gave us such psyche-spilling works as Dog Day Afternoon and the film of Long Day’s Journey into Night.
What’s striking about Spielberg’s memory movie is that, unlike say Eugene O’Neill’s “Long Day’s Journey Into Night,” everybody is treated with such warmth and compassion.
Just look at Dan Laustsen’s cinematography, who may only be rivaled by the work from a trio of cinematographers (Yao Hung-i, Dong Jinsong, and David Chizallet) on Bi Gan’s Long Day’s Journey Into Night .
Think Rocky’s Long Day’s Journey into Night.