A Reflection on The Long Day Closes Film

Posted: June 7th, 2024

A Reflection on The Long Day Closes Film

Aves unravels like a dreamy delineation of a bygone era in Liverpool during the 1950s in a film written and directed by Terence Davies. The movie cleverly maneuvers through the life of Bud, a cautious fourteen-year-old boy, and his strong connections with his compassionate mother and other siblings, although a bit abrupt (Dixon, 1900). The focus orbits around Bud’s world, which is deeply infused with imagination, family ties, religious encounters, and his trials and tribulations at school. Music and bits of movie dialogue supply the escape route, opening up new vistas to counter the constricting handicap imposed by the physical limitations (Pratley, 1992). As Stephen Holden has aptly noted, these pigments create throngs of images that construct a post-war England looking for beauty, fantasy, and a place to escape to.

In the film diegetic sound is used touchingly during a church scene, where hymns and ambient sounds submerge the audience in the protagonist’s spiritual realm. On the other hand, non-diegetic sound takes centre stage in the film’s conclusion in which it adds emotional depth, creating a resonant soundtrack that transcends the narrative (Pratley, 1992). The detailed cinematography of the films, shot on sets installed in Rotherhithe London at Sands Films Studio, proves that this director had an exact idea of what he wanted to show. This method of filmmaking, called “mosaic film,” is used by Terence Davies to create a symphonic collage from the childhood memories he weaved together, which frees the film from the conventional way of telling a story and its linearity (Dixon, 1900). The kind of cinematic technique that shows how time and memory become so interconnected in a way that is independent of what is logical or what is merely following the narrating conventions was noticed by Dennis Lim, an expert in this field. The ‘British kitchen-sink’ aesthetic, where the working-class surroundings are captured, is done with a cinematic richness, using a careful long-shot frame and the audio music that ramps up and creates an atmosphere in the entirety of the experience.

The film of Davies, as critic David Ehrlich suggests, is comparable to the most detailed work of Wes Anderson movie, which he describes as a fading slipstream that meanders through the drizzle and debris of post-war Britain (Dixon, 1900). The theatre became the Creator’s canvas to paint a magnificent cinematic creation that resulted in a snow globe of introspection as the pain of repression twirled into the happiness of self-discovery. Davies’ talent to incorporate real and surreal episodes, as documented by Stephen Holden, makes the movie to the existence of a phantasmagoria cinematic poem. The visual aesthetics play a significant role in the film with the notable tracking shots and overhead angles, which are what make the film’s atmosphere special. This very close attention to detail, the visual narrative, creates a sort of blissful state of tranquillity tainted by the tug of sadness.

In conclusion, the film ‘The Long Day Closes’ emerges as a real work of art that portrays post-war England with extraordinary skill, creating a remarkable story of the exploration of beauty, fiction, and the urge to escape. Davies’ exquisite craftsmanship, supported by the powerful and moving acting and the film’s brilliance in music, remains one of the reasons the film is still appreciated and recognized as a vital cinematic creation.




Dixon, W. W. (1900). The Long Day Closes: An Interview with Terence Davies. Re-Viewing British Cinema1992, 249-259.

Pratley, G. (1992). Memories Of Childhood: The Long Day Closes. Take One: Film & Television in Canada1(1).


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