distant voices , still lives is a 1988 british film directed and written by terence davies .

it evokes working-class family life in liverpool during the 1940s and early 1950s , paying particular attention to the role of popular music , hollywood cinema , light entertainment , and the public house within this tight-knit community .

the film is made up of two separate films , shot two years apart , but with the same cast and crew .

the first section , ' distant voices ' , chronicles the early life of a working-class catholic family living under a domineering father .

the second section , ' still lives ' , sees the children grown up and emerging into a brighter 1950s britain , only a few years from rock and roll and the beatles , yet somehow still a lifetime away .

the film won the grand prix of the belgian film critics association .

in 2007 the british film institute re-printed and distributed the film across some of britain 's most high-profile independent cinemas , prompting the guardian newspaper to describe distant voices , still lives as " britain 's forgotten cinematic masterpiece " .

in a 2011 poll carried out by time out of the 100 greatest british films of all time , distant voices , still lives was ranked third .

distant voices , still lives

distant voices , still lives <EOT> distant voices , still lives ( part 3 ) – music , memory and society .

distant voices , still lives – nostalgia and hardship through sound & music ( part 1 ) .

with the headline : review / film ; ' distant voices , still lives , ' a reminiscence .

weinrichter antonio , “distant voices , still lives . times of a return , ” 253 - 259 .

distant voices , still lives ( part 3 ) – music , memory and society . – celluloid wicker man

pingback : distant voices , still lives – sounds of the past . ( part 2 ) | celluloid wicker man

now you played a very different kind of character in an earlier movie called " distant voices , still lives . "

pingback : distant voices , still lives ( part 4 ) – communal singing and domestic abuse . | celluloid wicker man

distant voices , still lives – nostalgia and hardship through sound & music ( part 1 ) . – celluloid wicker man

looking for movie tickets ? enter your location to see which movie theaters are playing distant voices , still lives near you .

terence davies ' s ' distant voices , still lives ' is one of the greatest british films of all time at around 80 minutes .

distant voices , still lives is a 1988 british film directed and written by terence davies . it evokes working - class family life in liverpool during the 1940s and early ? location - ? autobiographical references - ? songs - ? alcoholdistant voices , still lives ( 1988 ) - rotten

jun 3 , 2006 - not the least among its achievements , terence davies ' s wondrous distant voices , still lives offers a crystallization of the appeal of the musical .

terence davies ' distant voices , still lives , a bleak , masterful portrayal of poverty and domestic violence set in 1940s liverpool , brings back vivid memories for beryl bainbridge .

craig nye on twitter : " terence davies ' s ' distant voices , still lives ' is one of the greatest british films of all time at around 80 minutes . … "

34 see antonio weinrichter , “ distant voices , still lives . times of a return , ” in q . casas ( ed . ) , op . cit . , 258 .

yes , we were ( slightly ) promised by the bfi the terence davies trilogy and distant voices , still lives this year . surely this a no brainer for criterion to whip up as well .

lavery , d . , " functional and dysfunctional autobiography : hope and glory and distant voices , still lives , " in film criticism ( meadville , pennsylvania ) , no . 1 , 1990 .

urltoken - buy distant voices , still lives at a low price ; free delivery on qualified orders . see reviews & amp ; details on a wide selection of blu - ray & amp ; dvds , both

thanks gropius - it does seem unlikely , but one can only hope . two major forthcoming releases are available to pre - order at â£11 . 99 from hmv : bigger than life . distant voices , still lives .

cargin , p . , " diver on distant voices , " in film ( london ) , january 1989 .

shirobamba wrote : one of my all time favourite films from britain , terence davies ' " distant voices , still lives " will get its own bfi booklength study . scheduled for may 2006 . the author is paul farley .

the lives of an english working - class family are told out of order in a free - associative manner . the first part , " distant voices " , focuses on the father ' s role in the family . the second part , " still lives " , focuses on his children .

i ' ve been waiting for quite some time on news of the bfi releasing their terence davies films - the trilogy , distant voices , still lives and the long day closes on dvd . is there good news on the horizon ?

in his direction of actors in these films , his stylized cinematography and radical , dreamlike editing helps them dispense with the realism audiences would come to expect . in their clear move away from these traditions , " distant voices , still lives

though the same actors are used in both sections of distant voices , still lives , different actors and different names are used for the same characters in the long day closes . the locations , however , are similar ( if not identical ) : both features are set in the same desolate , dingy working - class house and liverpool neighborhood . davies’s surrogate is named tucker in his first trilogy and bud in the long day closes ; in distant voices , still lives he has no surrogate .

screen dreams are strangest and strongest when they hit close to home . in terence davies ' searing [ distant voices , still lives ] . . . mystery resides in the vision of his mother , magically poised on the hall sill , washing the outside windows .

mr . postlethwaite : absolutely true . i still have it . i still have it in a little tin box at home and it ' s still there . that ' s true .

distant voices , still lives ( uk , 1988 ) : dir . : terence davies ; prod . : british film institute ( bfi ) , channel four films ; cast : freda dowie , pete postlethwaite , angela walsh , dean williams ; colour ; 85 min .

postlethwaite began appearing on television in the 1970s , in both films and series . it was a brazen and brutal performance as a drunken , abusive husband and father in the 1988 film " distant voices , still lives " that brought him wider attention as a film actor .

distant voices , still lives was released in the year 1988 , some songs of the official soundtrack are the finger of suspicion by dickie valentine , taking a chance on love by ella fitzgerald , oh , mein papa by eddie calvert , o waly , waly by peter pears . listen the soundtrack online !

' ' distant voices , still lives , ' ' was shown as part of the 1988 new york film festival . following are excerpts from vincent canby ' s review , which appeared in the new york times on september 29 , 1988 . the film opens today at cinema third avenue , at 60th street .

mr . postlethwaite : i never thought about it like that , really , but looking at it now , you ' re obviously right . yeah , there was a difference . strange , really because maybe the father in " distant voices , still lives " was inherently weak , whether it was because of his lack of employment or his migraine or his drinking problem , i don ' t know , but he was inherently weak , whereas in a way giuseppe conlon was inherently strong and outwardly weak . i mean he had - he was ill , whereas the father in " distant voices , still lives " wasn ' t .

terence davies ' s new english film , ' ' distant voices , still lives , ' ' which won the golden leopard at the locarno film festival and the critics prize at the toronto festival , is one of those dimly realized personal statements that ultimately says a lot less than the written program notes that accompany it .

the classical , nondiegetic music used in distant voices , still lives is often played sparingly but for smoothing montage like sequences . they also add metaphorical and heightened values to the scenes in which it is used and brings forth the positive nostalgia for the more rose - tinted views of the characters before the inevitable crash of reality occurs .

the filmed i / v with terence davies is by geoff andrew on distant voices , still lives . . . no mention however of a commentary track by davies , which kind of makes sense , as a constant prattle would negate the power and effect of this particular film , and i suspect not something davies would do . . .

the lives of an english working - class family are told out of order in a free - associative manner . the first part , " distant voices " , focuses on the father ' s role in the family . the second . . . see more »

gross : so it ' s interesting how you were able to embody two such different kinds of fathers and husbands . and i wonder what the difference is in how you carried your own body , how you presented your own self physically in both roles , in " in the name of the father " and " distant voices , still lives . "

for no organic reason , mr . davies divides the film into two parts , ' ' distant voices ' ' and ' ' still lives , ' ' in both of which marriages , deaths , baptisms and other family occasions are remembered in no special chronological order . this leads to redundancies that , i ' m sure , are intentionally anti - dramatic .

via a collage - like conglomeration of memories and pop - cultural references , " the long day closes " brought davies himself back into the equation . front and center is bud , a dour - faced boy on the verge of a puberty all the more traumatic for the explosion of homosexual desire that comes with it ; unlike " distant voices , still lives

the spectre of the father pervades the film , making it a peculiarly anguished and lugubrious rekindling of childhood . however , in comparison to terence davies ' s earlier trilogy , filmed in penumbral monochrome and steeped in sexual and religious guilt , isolation , and fear of death , distant voices , still lives is a positive romp . at least it has music .

sadly , most of the time distant voices is a hit parade of father ' s swiftest punches played to the hit parade that he might have been listening to on the radio .

for those with satellite access to artsworld the trilogy is playing this week and was preceeded by an hour long doc . about douglas . distant voices plays on december 17th . too .

terence davies ' s stunning debut feature film distant voices , still lives was instantly recognised as a masterpiece on its release in 1988 and the director hailed as one of britain ' s most gifted and remarkable filmmakers . re - released in april 2007 as part of a complete retrospective season of terence davies ' s films at bfi southbank , it was once again showered with critical acclaim .

as bigger than life sounds like a film to own . . . and as criterion seems to have ended their relationship with fox to some degree . . . i ' ve just ordered the bfi disc . and since davies sounds like something not to miss , i ' ve also ordered distant voices , still lives as well . i expect that two disc criterion editions will be announced in two weeks .

part nostalgia , part nightmare , the autobiographical distant voices , still lives is writer - director terence davies ' s bittersweet look back at his working - class upbringing in postwar liverpool . while it ' s beautifully photographed , davies ' s portrait of a house divided by a near - psychotic father ( pete postlethwaite ) - - loving one moment , brutal the next - - is . . . read more

despite not even glimpsing davies in the film , distant voices , still lives is a tellingly autobiographical work – his following film the long day closes ( 1992 ) is much more about davies’ childhood with particular emphasis placed upon the exploration and cultivation of a young boy’s burgeoning cinematic consciousness . despite the obvious continuity of distant voices , still lives ‘ two halves – though they were actually shot two years apart using very different crews – there is a subtle variation of light and tone which marks each . for example , the second part of the film ( “still lives” ) is much gentler , less mournful and more dream - like : as the family starts to die ( both literally and figuratively ) it takes on different formations and enters into a different time and place ( mostly of increasing isolation , and in relation to such compartmentalising media technologies as radio ) . the ties that bind , but also the tension of the film itself , loosen as the cultural and social landscape shifts , culminating in a flood of rain and tears .

katie , who has bipolar disorder , describes her experience of hearing voices when she is manic or depressed .

wyeth , p . , " voices from the past , " in stills ( london ) , march 1986 .

having now seen the bfi ' s restored print of terence davies ' distant voices , still lives at a cinema , i thought i would make a few comments that some may find helpful when the dvd appears shortly . yes , the images are rather soft . yes , the film is decidedly grainy in appearance . yes , the colours are muted . any reviewer who complains about these qualties may well be asking for something that the original film never delivered !

this priority towards the “truly novel musical resources” sums up the music of distant voices , still lives . it is however far more complex and less of a novelty than adorno would probably give it credit for . similarly to the use of sound , the use of music in distant voices , still lives is a deliberate evocation ; an exploration into the director’s own personal nostalgia for past practices and memories . the use of music can be split into two different types with one notable exception . there is no composed score for the film in a normal sense for a period drama . instead , distant voices , still lives uses a variety of sourced music and specially recorded arrangements of songs , both used equally to evoke the era and the memories . everett ( 2004 , p . 176 ) is again the main investigator of this stating : “however , autobiographical discourse , as we have seen , is about the processes of memory and does not therefore seek the closure of nostalgia , so that , even when the nostalgic potential of popular songs is exploited , this is generally done ironically and self consciously . ” because of a lack of distinction between whether she is discussing diegetic or nondiegetic , we will see that this is only half true . the first of these uses is found in the nondiegetic section of the soundtrack and can be described as more classically orientated both stylistically and in its use .

i ' ll most definitely be picking up those davies films . great to see that they ' re coming so soon . . . distant voices was a real revelation . doesn ' t bfi also own bill douglas ' s films ?

this is the first feature film of liverpudlian terence davies , obviously autobiographical , dealing with a family called davies and their lives during the 1940s and 1950s . the film is divided into two parts : distant voices ( 45 mins ) centers on the wedding of eileen , eldest of the three davies children , and the funeral of her father , [ … ]

terence davies wrote in the introduction to the published script for distant voices still lives ( 1988 ) that he was ' trying to create ' a pattern of timeless moments ' . ' yet that picture has a stronger dramatic line than the long day closes ( 1992 ) . in distant voices family life eddies around an immovable rock : the father ' s violence to the mother and their children . he has furies , never explained . at christmas , sat down to dinner , he suddenly pulls the cloth off the table and roars at his wife to clean up . a man can die eventually , but that sort of timeless moment lingers . violence persists , like an old smell , and can make new nostrils mad again .

the latest addition to the venerable bfi modern classics series is dedicated to distant voices , still lives , terence davies ’ elegiac debut feature . set in ‘a world before elvis , and in a liverpool before the beatles ’ , this intensely autobiographical meditation on a post - war working - class child hood remains one of the finest british films of the last twenty years , and its maker one of british cinema’s most original voices . davies has not made a film since the house of mirth ( 2000 ) and his treatment at the hands of uk film bodies and financiers is evidence of a shameful and almost criminal neglect .

more generally , it still amazes me the number of classic films that are not available on dvd . it does make me wonder why companies devote time and resources to relatively obscure dvds and books when many classics still are not available .

" distant voices , still lives " is aesthetically distinguished by two radical choices that set it dramatically apart from other family - memory films of the era ( john boorman ’s " hope and glory " [ 1987 ] is an excellent concurrent example in the united kingdom ; while ettore scola ’s " the family " [ 1987 ] and barry levinson ’s " avalon " [ 1990 ] make for more sentimental evocations of similar themes of generational loss from other countries , italy and the united states , respectively . )

with the long day closes english filmmaker terence davies completes his second autobiographical trilogy . ( faber and faber has conveniently published the screenplays of the six films — all his films to date – with an introduction by davies , under the title a modest pageant . ) i haven’t seen the first trilogy – children ( 1976 ) , madonna and child ( 1980 ) , and death and transfiguration ( 1983 ) — but the first two parts of the second , shot in 1985 and 1987 and distributed as a single feature , distant voices , still lives ( 1988 ) , still strikes me as one of the greatest of all english films .

drawn from his own family memories , distant voices , still lives is a strikingly intimate portrait of working class life in 1940s and 1950s liverpool . focusing on the real - life experiences of his mother , sisters and brother whose lives are thwarted by their brutal , sadistic father ( a chilling performance by pete postlethwaite ) , the film shows us beauty and terror in equal measure . davies uses the traditional family gatherings of births , marriages and deaths to paint a lyrical portrait of family life - of love , grief , and the highs and lows of being human , a ' poetry of the everyday ' that is at once deeply autobiographical and universally resonant .

if distant voices was marked by its temporal leaps , then still lives seems marked by a static lack of progression—perhaps appropriately , considering its title . even though the father is dead , the memory remains , and , in davies cinema , memory is as alive , real , and affective as any present . it also plays on the titles possible double meaning , ambiguously suggesting both its pairing as an adjective - noun and adverb - verb ( their lives have stilled , because the father still lives ) . the biggest time shift features a remarkable cut from eileen and daisy tearfully watching love is a many splendored thing in the theater ( with the title track swelling ) , to tony and masie’s husband falling in slow motion and crashing through glass from a top - down perspective . as is typical in the film , we only find out what this is connected to later , as both were injured in a scaffolding accident .

the film is a diptych . distant voices was shot in the autumn of 1985 . at that time still lives , which was shot in 1987 , had not even been written . however , the narrative is elliptical . depicting various key moments—wedding , christening , illness , war—in the life of a liverpool family , it jumps from tableau to tableau : there is no jarring disjunction between the two halves . if anything , the gap between them helps to give a real sense of time passing and enables characters to age convincingly .

whereas other films potentially could work in narrative terms without its music , distant voices , still lives is at once completely reliant on both digetetic and nondiegetic music and sound ; “… music is not being used as mere background support , surreptitiously shaping our emotional responses as we concentrate on dialogue and action , but is at least as important as these in creating the film’s meanings . ” ( everett , 2004 , p . 172 ) . the argument between these two terminologies will become increasingly complex from scene to scene as it becomes more ambiguous and debatable as to where the sound comes from . this is a brief overview of a complex drama whose relationship with sound and music is the first to truly reflect the complexity of working - class life . though it also deals with a number of similar issues to the previous films , the power of nostalgia and memory ironically allows a truth to enter into the representation of the working - class in distant voices , still lives ; an obvious irony considering that it has the longest time between its production and period setting .

the film is divided into two parts : distant voices ( 45 mins ) centers on the wedding of eileen , eldest of the three davies children , and the funeral of her father , events which spark memories of the past , including the frightening war years when the city was bombed frequently ; still lives ( 39 mins ) actually was filmed two years after the first part , with the same actors but with a substantially different crew . it’s a seamless continuation which climaxes with the wedding of another of the clan , son tony .

this is one of the key features that distinguishes the film from the other two and allows a breed of nostalgia to be born . whereas before the films were made to highlight problems and issues of the very present day , distant voices , still lives is a personal journey back into the past allowing the 1988 film to be set at roughly the same era as our other examples . this explains a number of the techniques on display that will be discussed later but it is too generalising to simply state that it is the main factor .

what is most surprising about terence davies ' film adaptation of lewis grassic gibbon ' s sunset song is how close the director seems to his material . the novel , published in 1932 , is the story of a sensitive young woman growing up in a rugged , rural community in the north - east of scotland just before the first world war . it is a world away from the working - class liverpool of the director ' s own childhood in the late 1940s , so movingly depicted in his autobiographical distant voices , still lives ( 1988 ) , and yet the two films sit together as companion pieces . they are both deeply felt family dramas with the same mix of lyricism and extreme brutality . they both feature abusive father - figures who terrorise their wives and children . there is plenty of music and communal singing in each of the films . the interior of the little farmhouse in which the family lives in sunset song isn ' t so different from that of the home depicted in distant voices .

the filmmaker actually shot the film as two deliberately contrasting halves , each made with a different crew over a two - year phase ; distant voices peeks through pale - sepia tones while still lives abounds in ominous - ethereal fades to white just as painterly stillness alternates with gliding camera movement . the title may imply the stagnation of oppressed lives , yet the picture’s lasting impression is one of concentrated , purified motion , of images poetically triggering images , and , above all , of waves of feeling flowing from screen to audience and back . never ignoring the characters’ pain as the family dissolves in the course of the film , davies brings to their gatherings a heartfelt sense of emotional community struggling with the inescapable passage of time .

the songs , presented cold , clearly mean more to the director than they do to an audience that doesn ' t share his very specific feelings of loss and love . ' ' distant voices , still lives ' ' has the rigorous , studied look of advanced film - school work . the color photography has a soft , golden hue , and the camera movements are stately , with a lot of pans from right to left and , on occasion , a slow rise toward heaven , as if the film ( and the man directing it ) were looking up to god .

davies recently detailed with characteristic candour his struggles with organisations such as the uk film council but events seem about to take a turn for the better . a new film , an adaptation of lewis grassic gibbon ’s sunset song has been announced , and after its rousing reception at the recent 50th london film festival , the restoration of the magnificent distant voices , still lives will go on general release in february 2007 . time has done nothing to dim the film’s beauty and power ; farley’s book – to which davies’ was a fulsome contributor – is a valuable and erudite companion piece .

if you ' re living with any of the issues katie describes in her blog you may find our info on bipolar or hearing voices useful .

this is the first feature film of liverpudlian terence davies , obviously autobiographical , dealing with a family called davies and their lives during the 1940s and 1950s .

arthur miller professed surprise when death of a salesman , to him a quintessentially american play , was successfully produced in china . distant voices , still lives , despite being located in so specific a time and place , has a similar universality of appeal . it taps into british and american cultural memory ; in the way it recreates an era through its media habits , its cinema - going and wireless listening , it is akin to woody allen ' s radio days . but its themes , marriage , birth , death , memories of the anguishes and pleasures of family life , make it accessible to almost anyone , even to xenophobic continental critics who still find it impossible to link the idea of " cinema " with that of " britain . "

made in 1961 , when homosexuality was still illegal in britain , this drama sees a gay lawyer fighting against a blackmailer targeting gay london men .

even if you weren ' t in a foul mood , this is still a completely valid point , this film should be on a fucking dvd .

fullerton , j . and king , e . ( 2005 ) , ‘local views , distant scenes : registering affect in surviving mexican actuality films of the 1920s’ ,

its narrative quirks are another hint that time has passed since the events in the film occurred . moving on from the clearly signposted backtracks of the loneliness of the long distance runner , distant voices , still lives is a more impressionistic look at the lives of a worn down post - war liverpool family and it is given this impressionistic view by its sound world . songs and sounds appear and disappear , moving from scene to scene , sometimes from the past , sometimes from a fixed present . it is a visual feast of a film with williams ( 2001 , p . 110 ) recalling davies’ work ( among other directors ) to be of a heavily visual basis ; “their work is so strong visually , it shows harrowing class experiences , but it’s not didactic . it shows something from the inside . ”

the second film in terence davies ' s autobiographical series ( ' trilogy ' , ' the long day closes ' ) is an impressionistic view of a working - class family in 1940s and 1950s liverpool , based on davies ' s own family . the first part , ' distant voices ' , opens . . . read all

58 the first attempt to blow up the concrete framework of the winnipeg arena did not succeed ; it was still standing after the explosion of dynamite charges .

set in 1940s england , distant voices / still lives is a compassionate look at a radically dysfunctional family . the son and his mother must endure the casual and overt cruelties of the bull - necked father . the ongoing abuse takes its toll in the form of failed marriages and misguided attempts at seeking security outside the family unit . as was the case with his earlier short subject trilogy ( the children , madonna and child , death and transfiguration ) , director terence davies based much of the material on his own life , combining rheumy - eyed cynicism with soft - edged nostalgia ( the musical track , drawn from popular wartime songs , is particularly evocative ) .

this is another reason most of the media — including supposedly “serious” publications like the new yorker – feel ill at ease with such a movie , preferring just about any hackneyed plot to a piece of cinema without a paraphrasable story . similarly , some reviewers have argued that the absence of the brutal father figure in the long day closes means a certain loss in dramatic tension compared to distant voices , still lives . i can see what they mean , but only if drama and tension are defined solely in terms of character and incident . if consciousness itself is the subject of the long day closes , as i believe it is , then there’s very little drop in feeling and intensity .

terence davies’ autobiographical second feature is the last film to be examined . unlike the other two examples , this film needs far more recontextualisation as its overall aesthetic choices for sound and music are greatly affected by differing factors . the first thing to note is that distant voices , still lives can be classed as a period film . williams ( 1993 , p . 241 ) argues that “whether conscious or not , davies attempts traumatic depictions using characteristic techniques of memory fragmentation and nonlinear representation involving his audience in the unpleasant realm . by doing this , he avoids the nostalgia inherent in any work dealing with the past . ” as we will see , the musical argument completely contradicts this reading .

it would be impossible for davies to show working class life in all of its complexities without music and sound . everett ( 2004 , p . 171 ) believes this is instantly obvious because of the sheer volume of music in the film , stating “however , as soon as we move to distant voices , still lives , we become aware of a major shift in davies’s treatment of music . this is obvious merely from noting the proportion of the film in which music is heard . ” the film is one whose soundtrack tells as much as its visual narrative , sometimes even more so . as we will see , davies is a director who is conscious of the powerful relationship between sound and vision ; one that when used in very specific ways can recreate that feeling of stumbling upon a memory . its haphazard jumping between time frames and reliance on sound worlds from different periods in the family’s life speaks of the whole film being one long recollection with only an olivier voice - over missing to give it the obvious tell - tale sign . everett ( 2004 , p . 65 ) also argues that “in distant voices , still lives , the camera glides through and between memories , twisting and turning upon itself in complex patterns which if not chronological or plot - driven may instead be recognised as musical and harmonic . ” even the very structure of the film seems quintessentially musical .

davies’s film is an act of exorcism , but also one of redemption . “i make films to come to terms with my family history , ” the director has said . “if there had been no suffering , there would have been no films . ” distant voices , still lives is a far darker work than the long day closes , davies’s luminous 1992 follow - up , where he could freely , lyrically recall the burgeoning awareness of his homosexuality , his joy for cinema , or , simply , the stupefying play of light on a carpet ; as armond white superbly put it , the difference between the two films is the difference between “memories davies can’t get rid of and memories he won’t let go . ”

the second way davies’s film represents a radical move away from traditional forms of fictional narrative is in its use of music . the whole of " distant voices , still lives " is constructed of seemingly disconnected scenes , threaded together by a complex series of voiceovers , popular songs and religious hymns , and , occasionally , synched dialogue that is used to sound - bridge disparate spaces . the most memorable sounds that bring together the film’s many shards as well as create a more thematic harmony , however , are the popular radio tunes or ditties sung on - camera by its many characters . entire sequences are made up strictly of these songs , whether performed as solos or singalongs , in the family’s parlor or in the neighborhood pub .

his film credits were extensive , but particularly notable were his work on john schlesinger ' s cold comfort farm ( 1995 ) , and his long association with the director terence davies , for whom he worked as musical director on the films distant voices , still lives ( 1988 ) , the long day closes ( 1992 ) and the neon bible ( 1995 ) . davies ' s meditative and elegiac films about a liverpool working - class family were appealing to lockhart , who was born and brought up in wigan and never quite adjusted to what he viewed as the terminal effeteness of the south - east . other film credits included andrew grieve ' s on the black hill ( 1988 ) and the thriller vicious circles ( 1997 ) .

what is perhaps more interesting is that , by recalling this post - war era , davies has also recalled its reliance on music ; something that neither of the previous films acknowledged . “the first problem of reflectionism affects both classical and marxist schemes since they conceive of music as a primarily reactive phenomenon . ” argues flinn ( 1992 , p . 88 ) and though the musical reactions of the loneliness of the long distance runner reflect this problematic stance , distant voices , still lives shows a reliant music rather than a reactionary relationship . in the context of davies work though , many of flinn’s general arguments are lacking ( through no fault of the writer’s ) prompting everett to call them “over - simplistic” ( 2004 , p . 175 ) .

despite a career of critical acclaim , terence davies still struggles to get his films made . whose fault is that ? just about everybody ' s , he tells simon hattenstone .

there are lighting changes that signal the passage of time ( a carpet pattern seen at different times of day ) and transitions into and out of bud’s daydreams . ( seated at his desk in the center of a classroom , lit by a spotlight , he looks out the window and sees a huge ship sailing past , gets sprayed with wind and rain , then is seen dry as the other boys in the surrounding desks become visible again . ) there are recurring architectural motifs — windows are as important here as doors were in distant voices , still lives — and recurring postures . ( looking out various windows in his house , bud often kneels on the floor , which recalls his prayers in church and his rapt leaning against the parapet in a movie theater balcony . )

the association accounted for variables like cohabitation , chronic physical and mental disorders , depressive symptoms , and emotional - social support . worries emanating from close relationships like partners or kids were more strongly related to mortality than worries from those more distant . but still , even if you are not overtly trying to kill your neighbor , it would seem that a duplicitous relationship could be ravaging you both .

with his next two films , davies continued to excavate his past , breaking up time in even more radical ways . " distant voices , still lives " ( 1988 ) and " the long day closes " ( 1992 ) , companion pieces of a sort , and the works on which the director’s reputation largely lies , are woven tapestries of sounds and images , dreams and desires of a specifically working - class milieu that both evoke and fly in the face of the british school of realism that defined davies’s national cinema , from john grierson and humphrey jennings’s groundbreaking experiments in documentary in the 1930s and 1940s to the “kitchen - sink dramas” of the 1950s and 1960s to the “heritage” and new - realist films of the 1980s and 1990s , typified by merchant - ivory and mike leigh , respectively .

the film feels no need to shy away from the issues that were simply impossible to be put on screen during the 1940s and even the early 1960s but does use music to in some way account for the presence of darker themes . everett ( 2004 , p . 177 ) puts this down to a need to break the nostalgia : “davies allows nostalgia to develop and then to be destroyed from within . ” this is the main point on which we disagree . though great attention is paid to the music in her writings on both distant voices , still lives and the director’s general use of it , it seems that the visual narrative has won over the writer rather than its sound - world which only breaks from nostalgia properly for one segment , even though the film has more than one unpleasant scene .

in contrast to this elusive editing , the visuals provide concrete , tangible textures . dvsl has a supremely unique look and feel to it ; davies said it was due a bleach process in film development that desaturated the color , creating slightly washed - out tones . davies calibrated this to the range of browns and sepia colors , creating a film that looks like old - photographs without ever being obvious or one - dimensional . the art design and lighting adds to this , and it’s certainly one of those films where you can almost feel the tactile quality of the surfaces , from the stones to the wood to the wallpaper . as the distant voices section gives way to the still lives section , davies consciously warms up the tone . even though it’s still desaturated , there’s now more angled , diffused , glowing light . the grays and blacks of the former give way to the golden reds of the latter . this is especially potent during davies’ repeated fades to white , which envelop his characters in an angelic glow .

there is something indescribable about the very real pleasures of terence davies’ breakthrough film , distant voices , still lives . it is a slippery , intangible work and its most beautiful moments ( of which there are many ) emerge from a combination of evocative sounds , more particularly music , the exactness of composition , and the vicissitudes of camera movement . most descriptions of the film and even the title itself suggest it embodies a kind of anti - cinema that is defined by notions of stillness , isolated sound and enclosed tableaux and yet this says little about the film’s atmosphere or explicit textuality ( which are both self - conscious and felt ) . a film which can , in turns , effectively evoke the cinema of michael powell and emeric pressburger , bill douglas , yasujiro ozu , and the mgm musical must be considered in terms that respect its cinematic specificity .

" an impressionistic view of a working - class family in 1940s and 1950s liverpool , based on davies ' s own family . the first part , distant voices , opens with grown siblings eileen , maisie , and tony , and their mother arranged in mourning clothes before the photograph of their smiling father . soon after , the family poses in a similar tableau , but for a happier occasion - - eileen ' s wedding . while relatives sing at her reception , eileen hysterically grieves for her dad , and recalls happy times of her youth . tony and maisie ' s memories , however , are more troubled . . . . in still lives , set ( and filmed ) two years later , the siblings are settled in life , but not all happily . for eileen , relief from her drab existence comes only when singing at the pub . "

commissioned as part of liverpool’s 800th birthday celebrations in 2007 , the british premiere of of time and the city ( terence davies , 2008 ) in the city’s philharmonic hall in 2008 was celebrated as a major european capital of culture event . hailed at cannes as a distinctly ‘terence davies’ film , of time and the city is a personal triumph for davies , returning after an eightyear absence from film making to the place of his birth and the memories that inspired his acclaimed semi - autobiographical films distant voices , still lives ( 1988 ) and the long day closes ( 1992 ) . a bitter - sweet love song to his native city composed of 85 per cent archive footage , most of it shot in liverpool between the 1940s and the early 1970s , of time and the city traces the exterior spaces and places of childhood and adolescence evoked but never seen in these earlier films .

not the least among its achievements , terence davies’s wondrous distant voices , still lives offers a crystallization of the appeal of the musical . an odd linkage , to be sure , since the genre’s trademark studio boisterousness would seem a world away from the kitchen - sink dreariness of the director’s mood piece about his years growing up with his working - class family in post - wwii liverpool , dominated by his abusive ogre of a father . yet davies transcends the facile trap of misery - porn by tapping into the basic notion that could make musicals so enlivening—music as direct expression , music as emotion felt . cinema is the most unashamedly emotional of arts , and the musical feeds in no small part on repressed , frustrated sensations , the better to explode them with bursts of melodious bravura ; what are musical numbers , after all , if not lyrically stylized declarations of feelings that could not be expressed any other way ?

but then i thought well , you can ' t , you know , you still can ' t go be an actor . i mean people from warrington don ' t go and be actors , really . so i decided to carry on - i ' d teach for a couple years and then see what happened after that and if i still fancied it after that i ' d follow - i ' d go and do it .

if you combined the personalized art therapy of ingmar bergman with the formal ellipticism and familial focus of hou hsiao - hsien and the theme of an elusive , fractured , and free - association memory of tarkovsky’s zerkalo you’d have a perfect , if difficult , description of terence davies’ aesthetic . davies had begun his career with his trilogy , three short , black & white films made between ’76 and ’84 . poetically fractal and challenging in their own right , the trilogy chronicled davies maturation as a filmmaker , beginning with the rawness of children , to the more studied and transitional madonna and child , and concluding with the masterful death and transfiguration . but if the trilogy was the herald , then distant voices , still lives ( dvsl ) is the second coming—the ultimate testament of the greatest of post - war british filmmakers . this film retains all of the emotional and aesthetic power of its predecessors , while offering a sophisticatedly refined form and style to match .

distant voices , still lives delves into the mechanics of memory ( which it never conceives of as mechanical at all ) and the mechanics and possibility of representing this memory in cinema . in the process it investigates the capacity of fictional cinema to act as memory book or family album . the film illustrates an important tension between evocative , realistic and tellingly detailed portrayal and the inaccessibility of the material portrayed to us ( which can only be represented , distanced , voiced , stilled ) . essentially what it offers is an emotionally charged self - conscious cinema throughout which we can sense the presence of the camera as it isolates an empty stairwell , cranes up from a sea of umbrellas , lingers over a composition , or perfectly frames and situates character within space . in the end davies’ film shows us duration , emotion , memory , the constructedness of space , and their interconnectedness . in the process it provides a heartfelt lesson in the nature , specificity and beauty of cinema itself .

dvsl also contains a more ostensible link to its predecessors due to the fact its narrative is rooted in davies’ autobiographical past . in the trilogy , davis had focused on his own life ( and imagined death ) , but dvsl removes davies the character from the equation . here , the canvas is much broader , trading the isolated suffering of the trilogy for a more communal one . what emerges is an impressionistic take of a working class family in england during the 40s and 50s . as the trilogy was made up of three , thematically connected short films , dvsl is made up of two , half - feature - length films itself . distant voices traces the sense - memory associations of davies’ family’s life through the period up until their father’s death , capturing that life in brief snatches of scenes that flow into others like tributaries into lakes . still lives , however , takes us outside the oppressive home environment to focus on the marriages of davies’ older sisters and brother , and the birth , christening , and party for the first child of the siblings .

the second film in terence davies ' s autobiographical series ( ' trilogy ' , ' the long day closes ' ) is an impressionistic view of a working - class family in 1940s and 1950s liverpool , based on davies ' s own family . the first part , ' distant voices ' , opens with grown siblings eileen ( angela walsh ) , maisie ( lorraine ashbourne ) and tony ( dean williams ) , and their mother ( freda dowie ) arranged in mourning clothes before the photograph of their smiling father ( pete postlethwaite ) . soon after , the family poses in a similar tableau , but for a happier occasion - eileen ' s wedding . while relatives sing at her reception , eileen hysterically grieves for her dad , and recalls happy times of her youth . tony and maisie ' s memories , however , are more troubled . davies intermingles and contrasts scenes like the family peacefully lighting candles in church with the brutal man beating his wife and terrorizing his young children . in ' still lives ' , set ( and filmed ) two years later , the siblings are settled in life , . . .

the story is divided into two parts , just like the title . distant voices is the frightening memory of the alcoholic and violent father , played brilliantly by the british actor pete postlethwaite , dictator in his family , where he seeks his revenge on a gray life , all set in a leaden and popular liverpool before the beatles era , in the ' 40s and early the following decade , a city photographed so impressionistic by patrick duval . the other part of the film , still lives , focuses on the attempt to turn the page of the family , after the death of the father , and the whole story revolves around the marriage of his son , the protagonist of the film , symbolic moment of a new beginning . a new beginning that the film shows us to be nevertheless always within the same mechanisms , as if the characters were been forced to repeat the mistakes which have been affected themselves , and to repeat in their family , the family of origin . to mark the difference , the fragments of memories are separate by black screens in the first part , and by screens white and full of light , in the second one .

the pebbles are the moments outside time , the shards of memory at the heart of the movement . these “timeless moments” are positioned quite literally outside the flow of time by being depicted as still or frozen poses which disrupt the temporal and spatial movement of the film itself . 36

just three floors below the impact zone , not a thing budged in steve mcintyre ' s office . not the slate paperweight shaped like a sailing ship . not the family snapshots propped up on a bookcase . mcintyre found himself in front of a computer that was still on .

it is not often that british films win prizes at international film festivals . truffaut , despite his penchant for hitchcock , and satyajit ray have both remarked that the british are more or less temperamentally incapable of holding movie cameras . a low - budget , bfi - financed account of a working - class childhood in post - war liverpool hardly seems likely to set the continental critics alight . nonetheless , distant voices , still lives received the international critics prize at the cannes festival , and also shared the golden leopard at the locarno festival . perhaps as a result of its european reception , the film was apotheosized by british critics , who , while lavishing extravagant praise , insisted on writing about it as if it were a remake of a room with a view , as if it were yet another piece of cosy , edwardian nostalgia : terence davies , the " proletarian proust , " had , we were told , " wrenched high art from the lower depths of his deprived liverpool childhood . " his film was like " coronation street by bresson . " ( it is ironic that a film which recreates an era largely through its popular culture should be treated as a piece of " art house " cinema . )


the long voyage home is a 1940 american drama film directed by john ford .

it stars john wayne , thomas mitchell and ian hunter .

it also features barry fitzgerald , wilfrid lawson , john qualen , mildred natwick , and ward bond , among others .

the film was adapted by dudley nichols from the plays the moon of the caribbees , in the zone , bound east for cardiff , and the long voyage home by eugene o'neill .

the original plays by eugene o'neill were written around the time of world war i and were among his earliest plays .

ford set the story for the motion picture , however , during the early days of world war ii .

while not one of ford 's best-known works , the long voyage home continues to be well received .

film critics and scholars have noted gregg toland 's distinctive cinematography , which serves as a precursor of the film noir aesthetic and would hint at his work for orson welles ' landmark film citizen kane ( 1941 ) .

the long voyage home

the long voyage home <EOT> the long voyage home at the ned scott archive , artist portraits and paintings .

the long voyage home at rotten tomatoes . last accessed : december 2 , 2009 .

looking for movie tickets ? enter your location to see which movie theaters are playing the long voyage home near you .

director john ford with his pipe in his mouth walking onto a location for " the long voyage home " ( 1940 ) .

the screen ; ' the long voyage home , ' magnificent drama of the sea , at the rivoli - - a swedish film at the 48th st .

( 1 ) the seven arts subsequently rejected his plays the long voyage home and the moon of the caribbees , causing him to submit them to the smart set .

with the headline : the screen ; ' the long voyage home , ' magnificent drama of the sea , at the rivoli - - a swedish film at the 48th st .

the screen ; ' the long voyage home , ' magnificent drama of the sea , at the rivoli - - a swedish film at the 48th st . - the new york times

star trek iv : the voyage home is perhaps the lightest and most purely enjoyable entry of the long - running series , emphasizing the eccentricities of the enterprise ' s crew .

the long voyage home was directed by nina moise , whom o’neill felt would protect his plays . alfred kreymborg describes his observation of a rehearsal of the play in his autobiography :

john ford brings together a slew of his regular actors as a wonderful array of rough and tumble sailors in his excellent , thoughtful war - time film the long voyage home .

crowther , bosley . the new york times , film review , " the long voyage home , magnificent drama of the sea , " october 9 , 1940 . last accessed : january 18 , 2008

thematically , bogard sees the long voyage home as widening the scope of o’neill’s sea plays and that as a group the plays lead to the explicit idea that the crew of the glencairn are forever “tied to the sea . ”

out of eugene o ' neill ' s four short plays of the sea , and under the haunting title of one , " the long voyage home , " john ford . . . view full article in timesmachine »

the long voyage home is a 1940 film directed by john ford , starring john wayne , thomas mitchell , and ian hunter . it tells the story of a merchant ship on the high seas during world war ii .

" the long voyage home " was under production n the studio of walter wanger , one of the most progressive and courageous producers in hollywood . wanger always had felt that sooner or later there would be a motion picture film so full of human interest , emotional experience and scenic flavor that it would offer stimulating material for artists to interpret and record on canvas . " the long voyage home " impressed him as the perfect film for this .

the film tells the story of the crew aboard a british cargo ship named the ss glencairn , during world war ii , on the long voyage home from the west indies to baltimore and then to england . the ship carries a cargo of high - explosives .

der nebel in the informer erinnerte mich an wie sehr ich the long voyage home vermisse . wahrscheinlich wird die viennale von einer serie von filmabenden gefolgt , bei der ich die filme zeigen werde , auf denen mir andere filme lust gemacht haben .

my father was and engineer on board the s . s . munami when the film crew including john wayne and all the others came aboard to film " the long voyage . . .

there are a million worlds in the galaxy . only one of them is home .

the long voyage home is a 1940 american drama film directed by john ford . it features john wayne , thomas mitchell , ian hunter , barry fitzgerald , wilfrid lawson , john qualen , mildred natwick , and ward bond , among others . [ 2 ]

while in the service of spain , the portuguese explorer ferdinand magellan led the first european voyage of discovery to circumnavigate the globe .

michael : better than those in the last title card of the long voyage home ? more perfect than “the rest is silence” ? i don’t think so . but , please , let us not go astray : continue your discourse about cinema and friendship , or i’ll break our friendship , by devil !

began in rutilius ' time on sept . 21 and so fit into the autumnal setting of his voyage .

we hesitate to make trial of the sea ; we tarry in the haven , unreluctant to endure idleness amid the delays which bar our voyage , so long as the setting pleiad storms upon the treacherous main , and the anger of the squally season is hot .

a rousing drama of the sea based on four of eugene o ' neill ' s stirring one - act plays was in the process of production in hollywood . the story , written by dudley nichols , takes its title " the long voyage home " from one of these plays . it is the saga of the " glencairn " , a british freighter which sails from the tropics on a long and adventurous voyage through the dangerous waters of a war zone to her home port . the ill - fated ship carries a cargo of dynamite and a crew of men who , with no shore leave during the voyage , experience a dramatic range of human emotion and offer a tragic character study , as directed by that genius of character portrayal in motion pictures , john ford famed especially for his " stagecoach " and " the grapes of wrath " .

the film was adapted by dudley nichols from the plays the moon of the caribbees , in the zone , bound east for cardiff , and the long voyage home by eugene o ' neill . the original plays by eugene o ' neill were written around the time of world war i and were among his earliest plays . ford set the story for the motion picture , however , during world war ii . [ 3 ]

" this picture is the result of walking in on a picture where john ford was directing an incident in the motion picture version of eugene o ' neiil ' s ' the long voyage home ' . the incident is not pictured as it will appear in the screen drama because i worked at an angle different from that employed by the camera . i worked from behind the set . "

© copyright 2017 daedalic entertainment studio west gmbh and daedalic entertainment gmbh . the long journey home is a trademark of daedalic entertainment studio west gmbh . daedalic and the daedalic logo are trademarks of daedalic entertainment gmbh . all rights reserved .

the voyage home is the return to the status quo now that spock is back to the crew where he belongs , and this is the lightest of the star trek movies , a delightful yet not - that - original incursion into comedy with a hilarious dialogue and a very welcome ecological story .

in 1940 , the motley crew of the british tramp steamer ss glencairn prepares the ship for its perilous voyage from the west indies to baltimore and then to england .

based on four one - act plays by eugene o ' neill , the long voyage home is a powerful saga of merchant seamen , their hardscrabble lives , and their hopes for the future . ford ' s film is a magnificent portrayal of the struggle not only to survive , but also to remain civilized , during the early days of wwii . as the film opens , the crew of the tramp freighter ss . . . read more

" bound east for cardiff implied that the sea could punish thoughts of rebellion , potential acts of will such as yank’s desire to find a home on land . there , however , the stronger conception was that the sea was kind to those who , without thought , live along the lines of force her strength laid down . in the long voyage home , the conception of the sea as avenger is primary , but in describing the sea’s punishment of rebellion , o’neill fell back on the somewhat mechanical plotting that had characterized his plays of ' ironic fate . ' ” ( 8 )

judith linden , who has a prominent role in john ford ' s argosy poduction ' the long voyage home ' ( 1940 ) , looks on as thomas hart benton , famous american artist , explains his work . benton is one of nine disttinguished painters brought to hollywood by producer walter wanger to paint principals and scenes from this eugene o ' neill classic drama of the sea .

it was released on dvd in 2006 by warner bros . home video but is now out - of - print . the criterion collection now has the home video rights to release it . it has not yet been released on dvd or blu ray by the criterion collection .

directed by john ford ; written by dudley nichols , based on the plays the moon of the caribbees , in the zone , bound east for cardiff , and the long voyage home by eugene o ' neill ; cinematographer , gregg toland ; edited by sherman todd ; music by richard hageman ; art designer , james basevi ; produced by walter wanger ; released by united artists . black and white . running time : 105 minutes .

“the way it moves between moments of wonder , humour and tragedy makes the long journey home a rare pleasure among science fiction games . ” kotaku “interacting with different alien races makes the universe in the game feel vivid and alive – that’s something the long journey home does way better than other games in the past . ” 90 % – gamereactor “the game can’t teach you everything in tutorial after tutorial . thank goodness . you’d never start your doomed mission . but you’ll have to be patient with yourself . you know so little going into this . ” 80 % – gamingnexus

if most movies today are doomed to be sure - fire , presold properties - - with ideas leached from our recent tv or cinematic past - - let ' s hope they ' re all as good at the game as " star trek iv : the voyage home . "

, a british steamer returning home to england from the west indies , stops in baltimore to pick up a load of munitions . the crew includes ole olsen , a young swede who wants nothing more than to return home to his wife and is protected by fellow swede axel ; smitty , who carries the secret shame of losing his wife to alcoholism ; and the brawling but loyal driscoll . the voyage proves more dangerous than any of them could have imagined - with violent storms , a kidnapping and attacks by nazi planes , not all of the close - knit crew will make it home alive .

production : argosy corporation , a john ford production . distribution : united artists corp . screenwriter : dudley nichols . based on the plays bound east for cardiff , in the zone , the long voyage home and the moon of the caribees by eugene o’neill . cinematographer : gregg toland . art direction : james basevi . editor : sherman todd . music : richard hageman . cast : john wayne , thomas mitchell , ian hunter , barry fitzgerald , wilfrid lawson .

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victorinus , a gaul like rutilius ( l . 510 ) , had lost his home in toulouse owing to its capture by ataulf , king of the

peake , 44 , originally from chichester , sussex , embarked on his european space program voyage to the international space station on 15 december 2015 – a journey that was just shy of seven hours long . he was accompanied by astronauts yuri malenchenko and tim kopra following a launch from the baikonur cosmodrome in kazakhstan .

mr . ford has ever been noted for his muscular realism on the screen , for the rich and authentic flavor with which he imbues his films . and in the long voyage home he has had an exceptional opportunity to exercise not only his talents but also his avowed affections . for the story is that of the tough crew of the british tramp freighter glencairn on a present - day voyage from the west indies , via an american port , to london in a rusty old tub loaded deep with highly explosive ammunition . and the loose and unresolved plot concerns the characters and reactions of the men in the face of lurking danger and their various bewildered impulses . given a theme of this sort , mr . ford is a man inspired .

. rescued by driscoll and his other mates , ole ' s voyage ends happily . not so for driscoll , because in the rescue he is taken prisoner and sails off aboard the

awards : ' oscar ' aa nom [ 1935 ] for ' les misérables ' ; ' oscar ' aa nom [ 1937 ] for ' dead end ' ; ' oscar ' aa [ 1939 ; b & w ] for ' wuthering heights ' ; ' oscar ' aa nom [ 1940 ; b & w ] for ' the long voyage home ' ; ' oscar ' aa nom [ 1941 ; b & w ] for ' citizen kane ' .

little was recorded about da gama & apos ; s return home and the reception that followed , though it has been speculated that the explorer felt miffed at the recognition and compensation for his exploits .

hermes will collect the item ( s ) you ' d like to return between 8 : 00 am and 8 . 00 pm on the next business day , as long as :

but ' tis the arno that retains its own name in the united stream , and in truth the arno alone arrives at the sea . long time ere fortune could enrol the house of trojan birth among laurentum ' s royal line ,

although the o ' neill plays were written separately and with only the same characters and locale to give them unity , mr . ford and his scenarist , dudley nichols , have pulled them together handsomely . from the moon of the caribbees they have taken their departure—the departure of the s . s . glencairn and its lusty , rum - soaking crew—and proceeded on through the dramatic incidents contained in bound east for cardiff , in the zone , and , eventually , the poignant episode of frustration presented in the long voyage home . if the film does lack a conventional dramatic pattern , it is mainly because of this episodic construction . and this lack may be disturbing to some .

but first he was to explore most of the photographic ideas that would distinguish ' citizen kane ' in john ford ' s the long voyage home , a somber story about merchant seamen caught up in the opening days of world war ii . toland told ford of his desire to achieve a quality of realism that was lacking in the prevailing styles of cinematography ; very deep , sharply limned images , he believed , would more nearly approximate what the eye sees in real life than the shallower , shifting focus normally used . and he explained that the lighting of interiors would be more realistic if it were done mostly from the floor instead of from the rafters high above where ceilings should be . the sets therefore should have full ceilings . it was customary at the time to use matte paintings when it was necessary to show ceilings , with the lighting coming with seeming impossibility from higher up . toland ' s ceilings were made of muslin so they wouldn ' t interfere with sound recording and the microphones were boomed above the ceilings , which allowed them to be placed closer to the actors for better dialogue reproduction and avoided the danger of mike shadows getting into camera range . ' the long voyage home ' was too downbeat to be popular with the public , but lovers of photography were enchanted .

finally , on february 20 , 1503 , da gama and his crew began to make their way home . they reached portugal on october 11 of that year .

in toland ' s early work , in films such as ' les misérables ' , ' dead end ' , ' wuthering heights ' , ' intermezzo ' , ' the grapes of wrath ' , and ' the long voyage home ' , he consciously rejected the soft focus , one - plane depth of the established hollywood house style and strove for a more jarring , razor - sharp black - and - white , employing recent advances in photography that included the use of high - powered technicolor arc lamps for black - and - white productions , super xx film stock [ a 1938 kodak stock four times faster than its previous stock without any increase in graininess ] , lens coating [ to cut down on glare ] and self - blimped cameras [ permitting filming in confined spaces ] . ' the long voyage home ' is a milestone in the evolution of toland ' s technical experimentation , enlisting high contrast black - and - white film , deep focus [ with foreground , middle - ground , and background all in sharp focus ] , the self - blimped camera , ceilinged sets , low - angle lighting , shots composed into light sources and germanic expressionism .

john wayne once told biographer maurice zolotow : " usually it would be mr . ford [ john ford ] who helped the cinematographer get his compositions for maximum effect . . . but in this case it was gregg toland who helped mr . ford . ' long voyage ' is about as beautifully photographed a movie as there ever has been . " see more »

the problem , khan says , is that refugee claimants in the u . s . are often held for months in detention centres without being able to get legal help or call their home countries for documentation .

eugene o’neill’s fortunes began to change when the literary magazine the smart set , edited by george jean nathan and h . l . mencken , published the long voyage home in their october 1917 issue . he’d received his first substantial pay from writing when in june of that year the magazine , the seven arts , bought his short story titled “tomorrow” for $ 50 . ( 1 ) then , the washington square players programmed his play in the zone on the first bill of their new season ; significant was that this organization was now paying royalties to playwrights , unlike the provincetown players . of o’neill’s four new “sea plays , ” three utilized the same ship , s . s . glencairn , and the same company of characters with minor additions and subtractions , many of whom had appeared in bound east for cardiff . these three plays were the long voyage home , in the zone and the moon of the caribbees . in spite of their obvious connections , o’neill never intended to have them performed together , nor is there any connecting narrative between them . he explained his choice of continuing characters and vessel in a letter to a magazine publisher in 1917 : “i have used members of the same crew throughout [ the cycle ] , because judging from my own experience as a sailor , i thought i had . . . picked out the typical mixed crew of the average british tramp steamer . ” ( 2 )

but in this digression we have perhaps been garrulous : let us now resume in verse the voyage we had set ourselves . on swiftly gliding course we bear towards glittering walls : the sister who draws her radiance from the sun is the bestower of the city ' s name .

the ss glencairn is a british cargo ship in port in the west indies in the spring of 1940 . the men complain about lack of shore leave , but they soon find out that they will have to carry a cargo of ammunition from baltimore to london , right through the german war zone . ole ( wayne ) is a swedish sailor who wants nothing more than to take his wages , go home to sweden , and see his mother again . smitty ( hunter ) is an englishman who has some kind of dark secret . driscoll ( mitchell ) is an old salt who is determined that ole will in fact go home , rather than blowing his money on drink once they reach port . but before ole can go home , they have to make a highly dangerous voyage through waters being patrolled by the german kriegsmarine and luftwaffe .

if your collection is with dpd , they ' ll collect the item ( s ) you ' d like to return between 9 : 00 am and 6 . 00 pm on the scheduled day , as long as :

will you marvel , reader , that my quick return journey ( to gaul ) can so soon renounce the blessings of the city of romulus . what is too long for men who spend all time in venerating rome ?

one long book might prove too wearisome : hence the author thinks it advisable to begin a second book . the tone suggests that book ii either was actually or was intended to be much longer than it now is .

explore an endlessly shifting universe . forge alliances with powerful alien races . harness your crew’s skills , from research to archaeology to space combat . do whatever it takes to get home .

" the portrait of john ford was painted in oil on canvas in 40 x 50 inches . after observing mr . ford for two weeks , directing " the long voyage home ' , i selected the pose which was most typical of is activity . his clothes and cap were those he always wore during his work . they belong to the portrait of the man : i believe that the clothes in a portrait should be of the sitter ' s choice , reflecting the sitter ' s taste , rather than of the artist ' s choosing for color effects . mr . ford posed about three hours for the head . a paid ' stand - in ' corresponding to mr . ford ' s figure was used for the body . this entire painting was also accomplished in five days . "

amazon logistics will collect the item ( s ) you ' d like to return up to 9 : 00 pm for residential addresses and 5 . 00 pm for commercial addresses on the next business day , as long as :

and this is the endless story which mr . ford has told with magnificent sharpness . his ship is really made of iron and his actors are really tough . thomas mitchell as the roaring , truculent driscoll ; barry fitzgerald as the viperish steward , cocky ; john wayne as the gentle , powerful olson ; ian hunter as smitty , the heartsick ; and wilfred lawson , ward bond , and all the rest are truly excellent . suffice it to say that women only appear briefly in this odyssey , and then exclusively as agents of evil . for the long voyage home is a story of men , of eternal suffering in a perilous trade , of life and tragic death in the dirty , heroic little cargo boats that sail the wet seas ' round .

, was after his defeat at the mulvian bridge pursued by catulus into etruria . he eventually fled from portus herculis to sardinia . ( 2 ) his son , m . aemilius lepidus , who had long wavered

very nice job m8s ! can ' t wait for english release . the only thing i dont like is ugly girls : d the faces could be much better looking : p and long hair is more sexy then short : p

the span which doth remain is subject to no bounds , so long as earth shall stand firm and heaven uphold the stars ! that same thing builds thee up which wrecks all other realms : the law of thy new birth is the power to thrive upon thine ills .

the via aurelia was the road by the coast of etruria to the italian riviera .

when the music finally stopped for cowley , after the russo - german pact of 1939 finally sealed his disenchantment with stalin , he found that his comrades had long since taken their seats . he wrote forlornly to wilson in february 1940 :

as peake comes back to his wife and two sons , reacquainting himself with the things he’s come to know and love at home , his truly extraordinary journey is a feat that will inspire and hopefully be built upon .

when da gama returned to lisbon , he was greeted as a hero . in an effort to secure the trade route with india and usurp muslim traders , portugal dispatched another team of vessels , headed by pedro álvares cabral . the crew reached india in just six months , and the voyage included a firefight with muslim merchants , where cabral & apos ; s crew killed 600 men on muslim cargo vessels . more important for his home country , cabral established the first portuguese trading post in india .

" we are not here to cause problem or something . no , we want to make here our home because we have lost our home . we have no place , " mohammed said tuesday as he sat in the small two - bedroom apartment that serves as a temporary shelter for him , mamood and four other recent arrivals . one bedroom has two sets of bunk beds with barely enough room to walk in between .

out of eugene o ' neill ' s four short plays of the sea , and under the haunting title of one , the long voyage home , john ford has truly fashioned a modern odyssey—a stark and tough - fibered motion picture which tells with lean economy the never - ending story of man ' s wanderings over the waters of the world in search of peace for his soul . it is not a tranquilizing film , this one which walter wanger presented at the rivoli theatre last night ; it is harsh and relentless and only briefly compassionate in its revelation of man ' s pathetic shortcomings . but it is one of the most honest pictures ever placed upon the screen ; it gives a penetrating glimpse into the hearts of little men and , because it shows that out of human weakness there proceeds some nobility , it is far more gratifying than the fanciest hero - worshiping fare .

one of the many surprises in the dutch scholar hans bak’s generous selection of cowley’s letters , the long voyage ( very long , at eight hundred pages , though representing only a fraction of cowley’s epistolary output ) , is how seriously cowley , a poet and critic best known for his championing of lonely american eccentrics from hawthorne and whitman to kerouac and ken kesey , embraced movements such as dada and its exotic outgrowth of surrealism , before committing himself to communism . “the communist adventure itself is one of surrealism’s unlikeliest non - sequiturs , ” john ashbery once wrote . but for cowley , dada always had a political , even revolutionary edge . from the vantage point of dada , the established world had “to be fought , insulted , or mystified , ” he insisted .

at a seedy bar ole is tricked into taking a drugged drink , and he is shanghaied aboard another ship , the amindra . driscoll and the rest of the crew rescue him from the ship , but driscoll is accidentally left behind in the confusion . as the crew straggles back to the glencairn the next morning to sign on for another voyage , they learn that the amindra was sunk by german torpedoes , killing all on board .

the drunken sailor : the men go on a binge once they make port in london . they know that this is a bad idea , that it usually ends up with them blowing all their money and having to sign up for another voyage . they do it anyway .

john ford welded four of eugene o ' neill ' s one - act plays about the sea , bound east for cardiff , the long voyage home , the zone , and moon of the caribees , into this melancholy film about wayfaring seamen , changing the setting from the turn of the century to wwii . this was o ' neill ' s favorite of the films based on his work , and he watched it often enough to eventually wear out his print . after a night of revelry in the west indies , the crew of the ss glencairn return to the tramp steamer and set sail for baltimore . they ' re a varied lot , from middle - aged irishman driscoll ( thomas mitchell ) , to the young swedish ex - farmer ole olsen ( john wayne ) , to the brooding lord jim - like englishman smitty ( ian hunter ) . after the ship picks up a load of dynamite in baltimore , the rough seas they encounter become especially nerve - racking to the crew , who are also concerned that smitty might be a german spy .

critically acclaimed as the best film adaptation of one of eugene o ' neill ' s classics , the walter wanger produced and john ford directed movie the long voyage home stands as one of hollywood ' s best dramatic creations . ned scott saved a number of items from the movie production along with some of his favorite photographs . these include portraits of american artists who painted scenes from the production process , something hollywood producers had never done before . scott also photographed a few of their paintings as well . walter wanger exhibited these paintings in art galleries around the nation to promote the movie . many publications of the day immortalized this new feature in hollywood movie making in their respective papers and magazines . american artists magazine , issue september 1940 , is the most complete discussion of the effort . here the magazine article is displayed along with scott ' s portraits of the artists and his photographs of some of their paintings . these are followed by scott ' s still photographs from the film .

but the very essence of the theme lies exactly in its inconclusiveness , in deliberate fumbling onward toward a goal which is never reached , toward a peace which is never attained . yank , the iron - muscled pal of the irishman , driscoll , dies at sea , but even in death he dreams of the land . smitty , the outcast aristocrat , goes to his doom with a defiant gesture at the world which has overpowered him . driscoll is lost to another ship , and the remaining members of the glencairn ' s crew—with the exception of olson , who does go home—creep back to sea after a spree in london . in the end , they are mother carey ' s chickens , and the only home they can ever know is the restless deep .

ambitious , exciting and memorable , the voyage home , being the fourth installment further the increasing quality in storytelling in the series , and is another good sequel that is directed yet again by actor leonard nimoy . nimoy ' s direction is terrific and bring some much needed depth to the plot that makes it that much more enjoyable . there are hints of humor strewn throughout the film , and it complements the thrills and action perfectly . there are plenty of improvements in this entry , most notably the film ' s special effects and more layed back tone . i feel that the filmmakers were much more confident with this release , and it shows on - screen . the story is good , and the cast deliver some good performances . i really was surprised by this one , and like i said , it ' s an entertaining science fiction picture worth seeing , and it ' s a well crafted affair that is sure to delight fans . nimoy does impressive behind the camera , and he helped make two outstanding films in the film adaptations of the classic tv show . it ' s rare for a fourth film in a series to be entertaining , but in the case of the voyage home , it ' s a highly engaging film going experience that manages to be amusing for a good two hours of entertainment . there are aspects that could have been improved upon , but overall , it ' s a solid sequel worth seeing and it ' s one that stands out among the franchise ' s very best films . this is a different type of star trek film , and it works well on many levels . with good performances , a well thought out story , and good direction , the voyage home continues the quality of good films in the series . this is one of the better movies i ' ve seen , and though a bit different , is a refreshing idea that is thoroughly engaging .

the hyperbole means that hardly any rainbow in the sky could reach the same height as the span of the arches of the aqueducts . burman suggested that

they ' re also concerned that smitty might be a german spy because he ' s secretive . after they force smitty to show them his letters from home it turns out that smitty is an alcoholic who has run away from his family . when they near port , a german plane attacks the ship , killing smitty in a burst of machine gun fire . the rest of the crew members decide not to sign on for another voyage on the glencairn and go ashore , determined to help ole return to his family in sweden , whom he has not seen in ten years .

the sox , who had looked to be in such danger during their high - risk , long - odds comeback , in truth dominated their old rivals shockingly toward the end , when the last huge sounds from the yankee bleacherites came with a flurry of thrown bottles and debris late in the schilling game . alex rodriguez , trying to beat out an infield bouncer , had slapped the ball

there is always something very intimate in a john ford film ; it stems from a familiar naturalness in the people that inhabit his stories . i think that’s what makes many of his films , including the long voyage , so damn good . he is , in essence , a straight - forward story teller . he doesn’t play with the camera very often , moving it just to move it . on the other hand , he has some of the most memorable shots in cinema – mostly of the southwest ; here , though , he has the immensely talented gregg toland shooting in the shadows of a grimy old ship and making use of deep - focus to give the film a melancholy , almost claustrophobic feel .

in the past four years , we have also encountered grave challenges . as a chinese saying goes , nothing in the world is difficult , as long as you put your heart into it . even the himalaya mountains can be climbed and the baltic sea can be crossed . china - sweden relations have weathered the test of times and rolled on with constant progress .

( 1940 ) . nonetheless , the film received seven academy award nominations : best picture , best screenplay , best black and white cinematography , best editing , best score , best sound and best visual effects . ford was so proud of the film that he displayed stills from it on the walls of his home .

checks our weary course , though phoebus scarce had reached his mid career . that day it happened merry village - bands along the country cross - roads soothed their jaded hearts with festal observances ; it was in truth the day when , after long time restored , osiris wakes the happy seeds to yield fresh produce .

the scorpion is next to libra among the signs of the zodiac : the sun enters libra at the autumnal equinox . poets use either

the other route would have been by sea to the mouth of the arno and then up the river .

disfigured they are by wars immeasurably long , yet the less their charm , the more they earn pity . ' tis a lighter crime to neglect our countrymen when at their ease : our common losses call for each man ' s loyalty . our presence and our tears are what we owe to the ancestral home : service which grief has prompted ofttimes helps . ' tis sin further to overlook the tedious tale of disasters which the delay of halting aid has multiplied : now is the time after cruel fires on ravaged farms to rebuild , if it be but shepherd ' s huts . nay , if only the very springs could utter words , if only our very trees

we just succeeded in doubling that long round of scattered crags , nor are the helmsman ' s anxious détours without heavy toil — so often puffs of wind change with each varying tack : the sails which helped a moment since are suddenly a drag . far off i marvel at igilium ' s

the staff at variety magazine wrote , " combining dramatic content of four eugene o ' neill one - act plays , john ford pilots adventures of a tramp steamer from the west indies to an american port , and then across the atlantic with cargo of high explosives . picture is typically fordian , his direction accentuating characterizations and adventures of the voyage . " [ 7 ]

along the voyage there’s plenty of dialog and action in the crew’s quarters , with thomas mitchell the accepted leader of the group . storm at sea , in which ship’s anchor breaks loose , is particularly realistic . passage through the submarine zone with blackout restrictions is more informative than dramatic . stuka - bombing and machine - gunning of the ship in sight of land is a dramatic excuse for heroic death of hunter just before landing .

sun in the paler sky of the scorpion ' s claws had lengthened the space of the night - watches .

combining dramatic content of four eugene o’neill one - act plays , john ford pilots adventures of a tramp steamer from the west indies to an american port , and then across the atlantic with cargo of high explosives . picture is typically fordian , his direction accentuating characterizations and adventures of the voyage . story plods along at slow tempo , making [ … ]

at the time of the sack of rome and of the gothic sea - raids .

the red sox managed four errors the next night as well , but were never threatened in the course of a 4 - 2 win , behind their patched - together ace curt schilling , and the cardinals , with a famous offensive lineup , brought home but one lone run in the third game and none at all in the last . albert pujols , the cards’ next hall of famer , made some dandy plays in the series and hit a little , but to small avail , and the family - crowd scarlet - garbed home cardinal rooters fell into museumlike silences . derek lowe , a towering , down - on - his - luck red sox veteran , had lost his starter’s slot late in the year , from ineffectuality , but , reluctantly called upon in the post - season after attrition had worn out the other boston arms , he magically rediscovered his sinker , here throwing seven innings of three - hit , shutout ball and coming home with the win . lowe had also terminated the yankees with one hit in six innings in that prior finale , on two days’ rest . an upcoming free agent this year , he is emotional and realistic in equal parts , and beneath the beard and clenched concentration on his long face you could see the excitement struggling to break free as the outs and innings rolled by . “games like this can make or break your so - called career , ” he had said , and with these two outings alone he is believed to have improved his value on the market by eight or ten million dollars .

i don ' t think chessmaster is good at evaluating these q + r endgames - - it seems to take the easy check , instead of looking to create a net . black wouldn ' t meekly trade qs as long as his r can kick white ' s q around .

georges schreiber as born in brussels , belgium , in 1904 . he experienced four long years of the horrors of world war before he could begin his career as an artist . he came to american and became a citizen of the united states as quickly as the law permitted . he is now one of america ' s most talented painters and illustrators .

a day later , i had to come home from fenway park to take care of another post - season cold and recover from the five - hour , twelve - inning game four , which had concluded at one - twenty in the morning with a two - run walk - off home run smacked by , who else , david ortiz . no bloop or feeble bouncer in these meetings failed to matter now—certainly not the uncharacteristic ball four thrown by mariano rivera to kevin millar to start the bottom of the ninth of that game . with the yanks standing at 4 - 3 , and three outs away from another world series , francona inserted his jackrabbit , dave roberts , as a pinch - runner : the exact task , almost the very inning , for which he’d been hired . away he flew on a terrific first - pitch jump—barely safe as jorge posada’s peg bent a fraction to the left—and here he came , home in a flash , as mueller’s single nipped past mariano’s reflexive stab . we were tied , and this evening and perhaps this series still in early days .

and now returning from pisa ' s city to triturrita , i was setting the hanging sails to a clear southern wind , when the sky turned foul under a sudden pall of rain - clouds ; the cloven rack scattered its vagrant lightnings . we stopped ; who ' neath a spiteful storm would dare to go on seas which threatened madness ? the respite from our voyage we spend in the neighbouring forests , delighted to exercise our limbs in the pursuit of game .

the sail - yards up . the gentle breath of the wind carries the stern - fittings on without vibration ; softly flap the sails on rigging free from any strain . there rises in the midst of the sea the wave - girt gorgon

replaced his ancestral home with but a humble abode : his virtue took either lot as equal . the man ' s unvanquished mind regards small things as great ; for to his spirit great things once had been but small . a petty farm used to contain the conquerors of kings , and a few acres yielded men like cincinnatus .

delayed by a day , this game was the 19 - 8 disaster at the hands of the yankees , and the worst boston drubbing ever suffered in a post - season . it was riveting for the wrong reasons , like hideki matsui’s thirteen total bases—a single , two doubles , and two homers—and only later , after the sox had begun their long journey back , could the fans dig through the avalanche site and find tiny hints there of better things ahead . for manager terry francona , the main event was tim wakefield’s offer to pitch amid the wreckage , pitch out of the pen—a sacrificial three and a third innings that cost him his start in the next game but probably saved the sox pitching for the rest of the distance .

after four years , the scenery , people and life in this country have become so familiar and intimate . this beautiful country always shimmers with unique charm , no matter it is long sunny summer days or winter polar nights . when the fireworks lit the clear night sky in central stockholm on every new year eve , we are reminded of the beauty of exchanges and integration among different cultures and civilizations .

a significant salute to grant wood by argosy productions and walter wanger : " grant wood is unquestionably one of america ' s greatest contemporary artists . born and raised in iowa , this quiet , modest and scholarly man still maintains his studios close by the university of iowa where he is a professor . after being the sole support for his family at the age of ten , wood began his art stuidies in cedar rapids , then went to chicago art institute and later studied abroad . after serving as a camouflage artist with the u . s . army in world war i , wood developed a rugged styleof painting which he has completely reversed to become the foremost realist of his day . wood creates but two or three pantings a year and only one of his canvasses remains outside a museum or private collection . more than any other artist wood has the ability to capture the simple and spiritual qualities of american of the soil and his " american gothis " and " woman with plant " are the two most frequently reproduced paintings of a decade . wood joined eight other american artists recently in painting scenes inspired by the colorful john ford argosy picture , " the long voyage home " , by eugene o ' neill , the largest group project in the history of american art .

the crew of the enterprise return to earth to find it under siege from a mysterious probe trying to communicate with the now extinct humpback whale and so travel back in time to 1980s los angeles to find some whales and save earth ' s atmosphere from destruction . as you can tell from the extremely hokey premise , the voyage home is star trek with tongue placed firmly in cheek and is the closest the series skirted to outright comedy . there are plenty of laughs to be had in the culture clash between our old favourites from the crew and 80s l . a . and each member of the team gets their moment in the sun with some affectionate fun - poking and knockabout farce with a heavy handed but sincere eco message attached . it works better as humour than drama as the plot has holes you could sail a nuclear wessel through and the story itself becomes overly drawn out and a little dull when the jokes are put on the back burner for the finale , but it ' s still an entertaining exercise in camp that fans of the original series cannot fail to enjoy . very silly but lots of fun .

then mid the echoing hills leap the notes of the bugle - horn , and singing makes the booty light in carrying back .

) over the idea of preferring any dignity to the prefecture of the august city of rome .

means the moon . of the two theories here suggested regarding the cause of tides , the second refers to an ancient belief that sun and stars were fed on the waters of the ocean .

choose four out of ten experts , all with personality as well as specialties . far from just stats , you’ll come to know them as they share their feelings , their fears , their excitement and their concerns on the trip and your decisions . learn how best to use their skills to help the others… and who might be willing to sacrifice themselves to get the others back home .

we had the fortune to make for the deep from pisa ' s harbour . calm smiles the surface of the waters as the sunbeams glitter : the furrowed wave whispers with gentle plash . the apennine slopes heave in sight where thetis