SPOILER ALERT! The plot will be discussed.
You might feel like you spent a whole day watching this
film. It comes in just under three hours. Well, Eugene O’Neill was not known
for being brief. Some critics have criticized this 1962 screen version of the
play, directed by Sidney Lumet, for being “stagy.” I would have to disagree. Yes,
we are talking about basically a four character story set at a beach house. But
Lumet starts the story of the Tyrone family outside, near the water. The first
object we see is the sun, its burning rays bearing down on the earth, hinting
at the long day to come. To me the use of the illuminating sun as the first
image presented is ironic, since this family doesn’t really want to see the
truths surrounding their lives. At one point, the son Edmond (Dean Stockwell) says, “Who wants to
see life as it is if you can help it.”
Lumet uses close-ups to zero in on characters as
they are showcased while going through their ruminations. He says in his book, Making Movies, if you viewed close-ups
of the actors at the start of the movie and then at the end, “you’d be shocked
at how different they look. The ravaged, worn, exhausted faces at the end have
almost nothing to do with the composed, clean faces at the beginning. It wasn’t
only acting. This was also accomplished by lenses, light, camera position, and
length of takes.” This effect emphasizes the toll this day (which is symbolic
of the many days of their lives) exacts on the family members.
Let’s look at the individual characters. The matriarch, Mary
(Katherine Hepburn) has been morphine-addicted since the birth of Edmund. She
was institutionalized, and her husband and sons worry that at any moment she
will relapse (which she does). Gong to the “spare room” is the signal that she
is isolating herself from the family (a spare room is not used by family
members) so she can shoot up. The drug addiction is a literal and figurative
escape from reality. She, as do the others, blame their problems on other
family members, instead of taking a hard look at themselves. Mary says it is
her other son’s fault, Jamie (Jason Robards, Jr.) for having the measles that
infected a third child, who eventually died. She says it was Edmond ’s fault for bringing a birth too soon
after the death of a child that led to her addiction. She refuses to accept the
fact that Edmond
has tuberculosis, and slaps him when he tries to make her realize he doesn’t
just have “a summer cold.” She accuses her sons and her husband, James (Ralph
Richardson), the traveling actor, for having lives outside of the home, leaving
her alone. But, she has made the house a prison for herself. The fog at the
beginning is symbolic of her inability to see the truth about her life. The fog
horn is used repeatedly (for instance when they all are drinking alcohol) to
show how the family is like a boat trying to navigate a self-imposed obscurity
to the truth. Lumet says in his book that he used longer and longer lenses on
Hepburn to show the character’s slipping “into her dope-ridden fog.”
The pretentious father, James, is also in a
state of delusion. He was an actor of some note who invents statements about
his theatrical abilities. He blames his sons’ wandering ways on their lack of
commitment to the Catholic faith instead of taking responsibility as their father. He tries to limit the consumption of
alcohol by the boys, but he drinks a great deal stating it is for medicinal
purposes. He champions the importance of the family, but he was absent much of
the time and was unfaithful to his wife.
Jamie drinks to excess, visits brothels, and generally has
no stability in his life. He wants to blame his father and mother for his cynical
and pessimistic view of the world, but again, does not take any personal
responsibility. Edmond
became a sailor to escape the family. He talks of a nirvana-like experience
while at sea. He felt part of everything else, achieving self-obliteration, and
not feeling at home at any one place. It is appropriate that he is the one
suffering from “consumption,” since his individuality has been wasting away.
The father blames Jamie for corrupting Edmond ,
but the latter allows his brother’s influence to take hold of him.
In the end, the characters start to confront the truth about
themselves. For instance, Jamie confesses his love/hate relationship with Edmond (which is sort of how
they all feel about each other) when he tells him that he wanted to corrupt his
brother. He didn’t want Edmond
to be the preferred son of the parents. Lumet says, “As the scenes progress and
the truth becomes more and more agonizing, the lenses get wider and wider, the
camera gets lower and lower, the light harsher but darker, as the whole story
of these people gets wrapped in night and the final terrible truths are
articulated.”
As I said, a long day indeed.
Next week’s movie is The
Graduate.
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