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El Largo Día Acaba [DVD]

3,8 de un máximo de 5 estrellas
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3,8 de un máximo de 5 estrellas 33 opiniones de clientes

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Liverpool, 1956. Bud es un muchacho de doce años, sensible, tímido e introvertido, perteneciente a una familia de clase trabajadora. La estrecha relación que mantiene con su madre y, especialmente, su pasión por el cine, le ayudan a enfrentar el ambiente reprimido y opresor con el que tiene que convivir cada día en el colegio.


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Amazon.com: 3.8 de un máximo de 5 estrellas 33 opiniones
22 de 22 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas A Great Film about Childhood, Music, Liverpool, and Movies! 3 de febrero de 2014
Por Jonathan May - Publicado en Amazon.com
Formato: Blu-ray Compra verificada
One of the greatest movie musicals ever made. One of the greatest movies about the experience of childhood ever made. One of the greatest autobiographical movies ever made. One of the greatest memory movies ever made. One of the greatest movies ever made by a director who happens to be gay. One of the greatest movie documents about growing up gay ever made. And when all of these come together in one movie, it is, for me, simply one of the greatest movies ever made. On my list of 6, the least important are the last two. The points made are of interest to those who care about such things, but one’s appreciation of the worth of the film does not depend on them.

Performances throughout are superb, down to the smallest role. Leigh McCormack gives one of the greatest performance I have ever seen by a young actor, rivaled perhaps only by Christian Bale in Empire of the Son and Hunter McCracken in The Tree of Life. According to IMDB, he has never been in another film. According to director Terence Davies, McCormack wanted to grow up and become a fireman. As Bud in this film, he is the central character and stand-in for the director as a young boy. Marjorie Yates plays his mother in the other central performance. Although she has made few movies, she seems to have been in lots of British television series over the years. (Only in this last viewing did I note that someone in passing and barely audibly addresses her as Mrs. Davies.)

Yesterday I watched the new Criterion Blu-ray edition of the film. It looks absolutely gorgeous. I had suspected that it was, even from the washed-out tapes and imperfect DVD I had seen over the years. The colors of the film are blues, grays, blacks, and browns along with dull yellows. Oddly beautiful. Occasionally there is a startling splash of color: a vivid green door, a bar of red soap. Red brick walls covered with black soot, with only a bit of the red showing through.

Davies and others in the interviews and commentaries stress that this is a “true” story. It is his family, the house where he lived, the street outside, the school, the church (which is the exact same one attended by Davies as a child). The house and street having been destroyed some years ago with no photographs of it, the recreation was based on detailed discussions Davies had with his production designer. It all looks totally “real.” It is not. There are conscious slight exaggerations, and both Davies and his production designer comment on to what and why. However, among other things (see above), the movie is a brilliant depiction of what daily life was like in a poor household in Liverpool in the 1960s.

I could carry on at great length about the use of extant music in the film, but part of the great pleasure is encountering songs and being surprised by them and how they are used. Sometimes they are used in their original form. Sometimes the mother may be singing a popular song of the time while she is going about her daily affairs (many of the songs used were favorites of the director’s mother). Sometimes groups are singing songs at neighborhood parties. Sometimes it is just the music in young Bud’s head. This may suggest to you both the British television and the Hollywood musical versions of Pennies from Heaven as well as other of Dennis Potter’s works. Yes. But I think the use of songs here surpasses even what Potter did. Sit back and relax and let them wash over you. Let the whole experience of this film wash over you.

The plot? Well, what plot? I guess what plot there is depends on whether you are viewing the work as the story of a boy over several years or as the story of one day in his life in which he remembers. If it is the former, it is about a boy moving into a new school and being bullied and made generally unhappy. If the latter, it is about a boy wanting money to go to the movies, getting it, and discovering that the friend he wanted to go with has gone off with another boy, making Bud most unhappy. I think it is both timeframes welded into one. I’ll always remember Dr. Egbert Sydnor Ownbey (yep, that’s his real name) who taught me Shakespeare in college talking about the two time sequences in Othello. One major aspect of the story makes sense only if the action of the play takes place in a brief span of time. Another main thread makes sense only if it is spread out over several weeks or even months. He thought the great genius of Shakespeare was to balance these different time frames so admirably that it matters not to the viewer or reader. I think Davies does something like that with this film. Ray Bradbury once wrote a short story called “All Summer in a Day.” I think he would have liked this movie.

Certainly the film is about erosion of the human spirit. When you see the film, you will understand this clearly because of the way the writer/director underscores it with a classroom lecture. And pay attention to the voiceover in the last sequence in the coal cellar. You see it throughout, the bullying.by peers and authority figures, and the little unkindnesses barely noticeable to those doing them. On this viewing I begin to understand that at least some part of that erosion is perhaps natural. Like wind. Water. And, of course, the mere (!) passage of time on our souls. But I will stick to my guns that the movie is about reclamation as well. Reclaiming the past by dealing with it. And in this case, the reclamation has resulted in the creation of a great work of art. Thank you, Terence Davies.
10 de 10 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Moments of being 5 de abril de 2014
Por Jay Dickson - Publicado en Amazon.com
Formato: Blu-ray Compra verificada
Many British cultural critics consider Terence Davies likely their greatest living director, and much of that estimation rests on this, his loveliest film. An excursion into memory, THE LONG DAY CLOSES may evoke Fellini (in its visions of the past rendered larger than life, as in the famous ship sequence in AMARCORD) and Dennis Potter (in its use of popular music not just to romanticize the past but to show its inevitable dissonances with its realities) while all the time seeming very much its own special and distinct creation. The tableaux Davies evokes--from its opening shot of a poor Liverpool residential street drenched in a downpour, to its great closing shot of a mottled evening sky--almost stop the heart with their beauty. The story is a patchwork of memories of the childhood of Davies himself, here called "Bud": the youngest by far of four children, the film documents a year of his life (at age eleven) that roughly covers 1955 to 1956. No great dramatic incidents occur in the story: no one take seriously ill, or runs away, or gets married, or even fights. The film is in an assemblage of "spots of memory" wherein Bud usually stays at the margins (he is usually seen poised on a staircase or in a window), watching or listening to his family and the people around him. Although adored by his mother and elder siblings he is always an outsider; newly aware of his budding attraction to men, he can't join in in his brothers' attractions to the opposite sex (their fiancees are in the house nearly as much as the children themselves), and stays forever aloof. Family socializing is a wondrous time for Bud, although he is almost always the only youngster included. The only time he sees his age peers are at school, which is presented as a noisy painful place governed by adults who despise children. His great sources of solace are in the Catholic church, where he is a devout practitioner of his mother's Catholic faith, in the local movie palaces (of which he is an equally devout follower), and the radio: Davies uses the popular music of the time--Nat King Cole and Doris Day--not simply to enhance the beauty of Bud's surroundings but also to create a thread of mass culture to unite the ages and genders of Bud's community.

The film could be a little much, especially in its treatment of Bud's loneliness: there are times when he veers dangerously close to Matt Lucas's "the only gay boy in the village" in his constant self-pity and sorrow. But the highly personal and subjective nature of the film renders all this allowable. Davies is so sure in his decisions and his tone that his romanticization of the past is ultimately proudly affirmed; what is more, he also even deftly deconstructs it as the film proceeds. Criterion's reissue of this film (with great sound and image restoration, and lovely extras) could not be more welcome.
6 de 6 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas The Most Important British Movie of the 1990s 6 de abril de 2014
Por Amazon Customer - Publicado en Amazon.com
Formato: Blu-ray Compra verificada
There are movies so profoundly important and inventive that they draw a kind of BC/AD line in your life. Terence Davies' "The Long Day Closes" opened a whole new chapter of cinema-watching experience for me. This doesn't happen too often. Movies like "Breathless" and "Jules and Jim" come to mind as earlier game-changers. This movie is non-linear, non-narrative and yet moves with compelling clarity and connectivity through the 1950s Liverpool childhood of its maker. This is a Liverpool with no Strawberry Fields and Penny Lanes. This is a working-class Liverpool with oppressive Catholicism where being 'other' is a burden, if not a curse. And yet the film exudes compassion and tenderness. Everything Davies does--from camera angles to music selection--resonates with perfection. When I think of supremely well-crafted films, I think of directors like Orson Welles and, now, Terence Davies. If you have a DVD library, this masterpiece belongs in it. Criterion has done its usual flawless job with transfer and packaging.
4 de 4 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Real life in 1950's England 22 de julio de 2014
Por D. Peters - Publicado en Amazon.com
Formato: Blu-ray Compra verificada
One of the most astonishing movies ever made. Years ago, when I first saw this film I thought I was watching a documentary for the first few minutes. I was amazed to realize that it was a dramatic movie and I became glued to it. I have seen it many times since then but never as well as this absolutely gorgeous transfer from Criterion. Terence Davies is one of the most talented directors to have ever worked in film and his ability to put his childhood on the screen in such remarkable detail is a huge achievement. The performers have such a natural sense about them, it never seems as though they are acting. Throughout the time covered in the movie individuals and small groups break into song while attending family gatherings and the effect is intimate and very touching. I cannot recommend this film highly enough.
1 de 1 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas The Long Day Closes 24 de diciembre de 2014
Por Gary W. Phelps - Publicado en Amazon.com
Formato: Blu-ray Compra verificada
Here is a DVD that is very instructive for family viewing. This is not a Movie about a Boy who became a pedophile or homosexual because he lost
his father to a terminal illness, and no one was interested or cared about him as a survivor. No nudity. This film by Terrence Davis is actually an autobiographical film about enchantment and melancholy in a boy growing up in Liverpool, London during the 1950s who just lost his Father due to cancer. This boy suffered deeply as his Father screamed for morphine and unconsciously physically, psychologically and emotionally abused him.
Family and friends sincerely attempt to have him realize what he experienced from his abusive Father was not his fault. Leigh McCormack plays the lead role as the boy, Bud, and his performance is sheer true-to-life genius! This boy, Leigh McCormack superbly enacted Bud's mood swings from fantasies to memories, fears to dreams. I believe this film is an excellent means for those who are dealing with a youngster who has lost a parent in similar circumstances. I have allowed such individuals to review my Blue-Ray/DVD 2 disc copy of The Long Day Closes, which they found very helpful and instructive for their needs while in mourning. Terrence Davies lived this as a youth in his own fashion and went on in life to carry on.
My compliments to the British for another superb film.


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