Long Day's Journey Into Night

Although the camerawork and credits are almost painfully simple, the play itself and the acting make it an amazing experience. At almost 3 hours long, it at first seems a bit daunting, but when the final line is spoken, you can't help but feel cheated out of just a little bit more. I had to see this because I had just seen Kevin Spacey on Broadway in the Iceman Cometh, and, though that was the more powerful experience, I remain sure that this production was as close to perfect as it could be, considering it was not seen live. That it is not live is a problem, because there are moments that clearly expect an audience reaction, but having a live audience videotaped would have detracted greatly, so I am completely satisfied with this method. All of the actors, with the possible exception of Cathleen, who is by far the most minor character with the least screen time, were perfect, and I would take the time to say my favorites, except that that would comprise of listing every actor in the play/movie. The direction starts off somewhat irritating and looks clearly made-for-TV, but by a few minutes into it, this seems completely irrelevant. The introductory credits are white typed on black with absolutely no sound, which is slightly disconcerting considering there are no previews or anything before the start of the play to hint ahead of time, but during the end credits, the magic of this silence is greatly appreciated. An extremely simple production, with only the one set used on stage, this was infinitely more satisfying and powerful than I ever would have imagined from my video rental guy's comment that I must want to torture myself by watching it all in one night. Looking back, I can't imagine a place where I would have been willing to pause it even long enough to answer the phone. I give it a ten out of ten.

No question, this is a great play, and the cast (led by Jack Lemmon, and also starring Peter Gallager and Kevin Spacey) are outstanding, but as a film goes, it's not very strong.

This version is merely a filmed version of the Broadway play. It takes place on the set of the play, and the direction doesn't hide it. As such, there aren't many interesting shots and some are just downright bad. And these people are play acting, not film acting. Very big mannerisms and movements. So it's not really intimate.

Still, you won't be bored. Great acting, wonderful play, just probably not the best film version of it.

Yes, it's almost 3 hours long. Yes, it's just 4 chemically altered characters alternating between yelling at each other and doing pages-long soliloquies. Yes, they never leave the single set. And you know what? It's amazing. This is literally master class in acting. Eugene O'Neill is a tough slog, but it was totally worth it to see these 4 inhabit the roles. I've forgotten how good an actor Peter Gallagher is and it's no small feat holding your own against Jack Lemmon. Don't try to compare it to the 1962 Katharine Hepburn film version... this one is like going to the theater, without having to leave your couch.

Outstanding performances highlight this televised version of the 1986 stage triumph of Eugene O'Neill's electrifying play about a family whose lives continuously crumble with each hour in one day. Lemmon is brilliant as the patriarch, a faded matinee idol; Leslie, as a dope addict; Spacey, exceptional as a drunken loafer and Gallagher as the youngest son, stricken with consumption. Passionate acting, superb pacing and top notch direction make this extraordinary production worth the watch.

This production is worth viewing for Bethel Leslie. I really dislike director Jonathan Miller's domestication of the Tyrones. I understand what he was after... and he did succeed; but for me this play shouldn't be brought down to earth. It's not a television "dramedy." When I saw this production live, I overheard one audience member at intermission jocularly tell her companion, "They're just like my family!" And at the play's climax (Mary Tyrone's descent down the staircase) when Jamie (Kevin Spacey) uttered his line, "The mad scene: enter Ophelia" the audience roared with laughter. To me, that's a little like urging an audience to laugh when Lear brings in the lifeless body of his youngest daughter Cordelia.

Jack Lemmon was a fine actor, but he always brought himself to the roles he played and in this case it was hard for me to forget that he was not Ens. Pulver, C.C. Baxter or Felix Unger. I did like Peter Gallagher as Edmund, but not Kevin Spacey's take on Jamie (oddly after being unimpressed with Spacey in this and THE ICEMAN COMETH, I *loved* his interpretation of Jim Tyrone in his revival of A MOON FOR THE MISBEGOTTEN... essentially an older version of the same role he plays here).

But then there's Bethel Leslie who makes this whole production worthwhile. I won't say she's the best Mary Tyrone I've ever seen, but only because saying so really makes no sense since many great actresses have played this role in many different ways. She is a less sympathetic Mary than usual -- that the character is an emotional vampire has never been more evident -- but it's a valid interpretation and a very disturbing one.

I know some fans of the play love this production, so I actually urge people to see it and decide for themselves. I think this is a well executed production of a flawed interpretation of the play.