Long Day's Journey Into Night (1962) cover for the American Blu-ray edition of the movie Long Day's Journey Into Night
In 1962, there were two major events in the Chinese film industry: First, at the "New Overseas Chinese Conference" held in Beijing at a national feature film conference, Zhou Enlai proposed to set up an award for the masses to evaluate films, and after discussion by the secretariat of the China Filmmakers Association at that time, it was decided that this award was named "Hundred Flowers Award" - on May 22, the China Film Association held the first "Hundred Flowers Award" award ceremony for "Popular Films"; second, according to Zhou Enlai's instructions, the Ministry of Culture organized the selection of 22 people who were loved by the audience. The new Chinese folk actors" and hang their photos in various theaters, replacing the 22 Soviet stars that were previously hung, which is what people usually call the "22 big stars" of New China - "four major factories" In order to make their actors on the list, it is natural to "show their magic", and finally in order to balance the relationship between the factories, the "22 big stars" were approved by the "above", which is also the precedent of the first "pork sharing" in China, and it turns out that those stars out of the Republic of China still laughed to the end.
From top to bottom: parts of the posters of the Chinese version of the movie "Brothers Are Good", "The Female Barber", "Jia Wu Fengyun" and "Li Shuangshuang"
With the further adjustment of basic national policies and literary and artistic policies, the film industry once again set off a wave of innovation in the three years that began in 1962. 1962 can be regarded as a "comedy" year: Yan Jizhou's (1917-2018) "Brothers Are Good", Ding Ran's (1918-1970) "Female Barber", Lu Ren's (1912-2002) "Li Shuangshuang" and Xie Jin's (1923-2008) "Big Li Xiao Li and Old Li" all achieved good commercial results in the market.
And Lin Nong's (1918-2002) "A Noon Storm" not only improved the patriotic morale of the people, but also made the long shadow "laugh at" the film can not shoot such a "momentum".
The theme of the drama is also remarkable, Wu Yonggang 's (1907-1982) "Jade Hairpin", Cai Zhenya's "Biography of Liu Yi" and Sang Fu's (1922-2004) "Shang Xiaoyun's Stage Art" have been welcomed by the people of the second and third cities.
Stills from the movie Long Day's Journey Into Night (1962), Katharine Hepburn
The era of "class as the guideline" is naturally indispensable to the themes with "the atmosphere of the times": Cai Chusheng's (1906-1968) "South China Sea Tide", Wang Ping's (1916-1990) "Huai Shu Zhuang", Zhang Junxiang 's (1910-1996) and Gu Yi's (1915-1970) co-directed "Liao Yuan" and Cheng Yin's (1917-1984) "After the Armistice" - these "propositional" films finally made these well-known directors "sigh".
Catherine Hepburn (1907-2003) in Hollywood, USA, took a selfie with Joseph Hepburn. After L. Mankiewicz's (1909–1993) Summer Horror/Summer Fever/Last Summer last summer, he threw himself on the Broadway stage and took care of Spencer Qusay Spencer Tracy (1900-1967) and his father.
Dean Stockwell's image from Dean Stockwell in the film Long Day's Journey Into Night (1962).
Director Sidney Lumet (1924-2011) has been in the spotlight since the fame of Twelve Angry Men (1957). His collaboration with Marlon Brando (1924–2004) on The Fugitive Kind (1960) was also well received.
At this time, the writer Eugene O'Neill (1888-1953) play Long Day's Journey Into Night (1962) was placed in front of Sidney Lumet. When he sent the script to Katherine Hepburn's home, Katharine Hepburn read the script and personally called Sidney Lumet to agree to play mary, the mother in the play.
Stills from the film Long Day's Journey Into Night (1962), by Kathleen Hepburn And Ralph Richardson
In 1939, the writer Eugene O'Neill began to write the autobiographical play "The Long Night", to make public the affairs of his family, which he had hidden deeply in his heart for many years. Through this autobiography, we can glimpse why Eugene O'Neill is so good at depicting the split personality and the distorted psychology of human nature under great external pressure, and his tragedies are like a fog, which cannot be dissolved, which are tragedies that never have an antidote, that are trivial, tangled, hidden, and inevitable accumulation.
The Long Night is an autobiographical play by Eugene O'Neill in his later years "written in blood and tears to dispel old hatreds." Based on his own family life, by showing the entanglements and pains of the James Tyrone (Ralph Richardson) family, Eugene O'Neill hopes to reach understanding and forgiveness with the purifying effect of tragedy, "facing the dead relatives with love and faith".
Eugene O'Neill and his third wife, Carlotta Monterey, carlotta Monterey
In his will, Eugene O'Neill forbade people from performing it for 25 years after his death, possibly because it involved his personal experiences. We should have seen it for the first time in 1977, but the copyright was owned by Yale University, who, against Eugene O'Neill's instructions, published the show in 1956 and premiered on Broadway in 1957.
The autobiographical play did not debut on stage until 1956. The youngest son in the film, Edmund, is based on author Eugene O'Neill.
The film revolves around the James Tyrone family of four. In the summer of 1912, in a peaceful family atmosphere, as the dialogue between the members unfolded, the apparent calm was broken, and the contradictions and entanglements in the home were gradually exposed to the audience.
From left: Jason Robards, Katharine Hepburn, and Dean Stockwell in the film Long Day's Journey Into Night (1962).
The head of the family, James Tyrone, a descendant of Irish immigrants, was an actor in his youth, known for starring in Shakespeare, wandering around for many years, and then achieving box office success for a new play, and since then he has continued to re-enact for money, ruining his artistic talents.
Because of his family's poverty, James Tyrone regarded money as his life and was extremely miserly. When his wife Mary (Katharine Hepburn) suffered from pain from childbirth, in order to save money, he hired a low-priced quacker doctor who only knew how to use morphine to relieve his wife's pain, causing his wife to become addicted to drugs; also to save money, he planned to send his youngest son Edmund (Dean Stockwell, Played by Dean Stockwell) who was suffering from tuberculosis to a charitable nursing home.
Stills from the movie Long Day's Journey Into Night (1962), by Ralph Richardson (left) and Jason Robards
James Tyrone dwells on the past all day long. Mary began taking drugs after giving birth to a sickly Edmund. She felt she was responsible for Edmund's physical condition. Her father died of tuberculosis, so she feared Edmund was infected.
The eldest son, Jamie Tyrone (jason Robards), is an alcoholic. Aside from drinking, his only pastime was to take care of his younger brother and encourage him to become a writer.
At one point, James Tyrone yelled at Mary, saying he had been very scenic on stage before. Edmund reassures his mother not to be sad, and Jamie goes out for a drink.
Stills from the film Long Day's Journey Into Night (1962), by Katharine Hepburn and Jenny Barr (right)
When Jamie gets drunk, he tells Edmund what he really thinks. He hated Edmund and wanted him to die sooner.
Day is approaching and night is falling. The James Tyrone family gradually returned to calm, waiting for the next day of life.
During the filming of The Long Night in New York, Katherine Hepburn spent each weekend across the coast with her elderly father and Spencer Qusay.
"After filming on Friday, I immediately drove to Connecticut to see my father. Spencer Küsse's health deteriorated so quickly that I usually flew to visit Spencer Küsser after staying with my father on Saturdays. Then back to the studio on Sunday night. She started work on time on Monday morning and started a busy day.
Images by Katharine Hepburn and Spencer Küsser Spencer Tracy in the film Guess Who's Coming to Dinner (1967).
"'The Long Night,'" Recalls Catherine Hepburn, "was a reflection of my painful life at the time." I'm not like some of the actresses in the New York City Actors Workshop who need to experience a feeling firsthand. Usually, there is nothing wrong with the feeling of happiness in the performance of the actor, the problem is how to perform sadness, how to convey the feeling of heartbreak to the audience through details. I've never had a problem in this regard because I can cry when I lose a dime. I can shed tears at any time, as much as I want. My problem is that sometimes I cry so much that when director Sidney Lumet shouts to stop, it takes me a few minutes to stop. My eyes were red with tears and I didn't need makeup at all. Even I was surprised that I actually shed tears when I was happy. People on set asked me how I did it. Young actors and some middle-aged actors want to know my secret. I said I didn't know what was going on, and they didn't believe it. "
Image by Catherine Hepburnl in the film Long Day's Journey Into Night (1962).
"They all said that I was very real when I performed the pain, that there was no trace of acting, and that I was a 'real actress'. My pain conquered them. They also said I could pretend to be haggard as I pleased. In fact, I was really in excruciating pain and physically and mentally exhausted. Two of my favorite men are dying. ”
"My father died after a long time of suffering from illness, and he struggled with the disease for almost a year. The doctor said that his illness was not cured well, and it would only get worse and worse. ”
My father once said to me, "Fortunately, I suffered this pain, not your mother." ”
Stills from the movie Long Day's Journey Into Night (1962), Dean Stockwell, Dean Stockwell
"I found myself actually praying for my father's death to end that pain as soon as possible. I probably shouldn't have used the word "prayer" because my father thought prayer wouldn't be of any use. Father said that although he was born with a pastor in his family, seeing those who did not do evil after becoming a doctor also suffered, making him doubt whether a benevolent God really existed. He didn't believe in God anymore. ”
"I can't let the crew down, not only because I'm the main actor, but also because it raised money in my name. We put almost all of our savings into it to make movies. I believe it will succeed, but I don't feel like it will yield a lot of gains. There is simply nothing in the world that is unearned. ”
Katharine Hepburnl was featured on the location of the film Long Day's Journey Into Night (1962).
"Spencer Küsse laughed at me and said it was a pity for the $25,000. I thought about asking him to play the male lead, but he said that he was already in debt and would have to take cash if he wanted to make a movie. He may say that maybe because he can't play a good male lead! How comfortable he was in California. He hated flying from the West Coast to the East Coast and then from the East Coast back to the West Coast, but he didn't tell me because he didn't want me to know he was afraid to fly.
"I've never been afraid to fly. I could sleep on the plane or read the script, but Spencer Küsse would suffer severe insomnia, even though the mats on the plane were the most comfortable in the world.
"I was busy in California for a week, and when I took the bus to Connecticut, I could almost fall asleep standing."
Stills from the movie Long Day's Journey Into Night (1962), from left to right: Ralph Richardson, Jason Robards, Kathleen Hepburn Hepburn and Dean Stockwell
Spencer Qusay felt guilty for wasting my time with him. I think he overestimated my position at the time. I don't feel like I'm a glutton, and the performances are decreasing. I'm not worried at all. I can go where I like, do what I love, like my father said, be a 'natural caregiver'. ”
On November 20, 1962, Catherine Hepburn's father died of illness.
Looking back, Catherine Hepburn commented on her father's importance in her early life: "He was the first man in my life and the pillar of the family."
"He didn't encourage me to be an actress, but I turned that disappointment into motivation. Maybe he had hoped I would succeed! ”
From left to right: Ralph Richardson, Katharine Hepburn, Jason Robards, and Dean Stockwell on location in the film Long Day's Journey Into Night (1962).
"The Long Night" is a process of exploring the source of pain, and for the four protagonists, it has a bit of "Rashomon/Rashomon" (1950), which has become one of the reasons why the film is praised.
The film makes good use of things such as "Fog" and "Bottle of Wine Mixed with Water" to express distrust and self-anesthesia in the family; the shooting of the space at the end is also surprising, thanks to Sidney Lumet's skillful scheduling and arrangement.
The camera switching in each of his scenes basically uses the minimum number of shots, and the upward look, look down, and movement at different moments fully express the emotions of the characters.
Of course, this also directly causes the difficulty of the actor's performance, you can easily find that in many shots, the dialogue of the characters is very much, the position is very complicated, but it is a shot from beginning to end. The plot is tight and the dialogue is wonderful, and the performances of the four main actors are quite perfect.
In particular, the child actor-turned-Dean Stockwell's performance in the film is shocking, and the appearance is a "mini" version of Montgomery Clift (1920-1966).
Stills from the movie Long Day's Journey Into Night (1962), by Dean Stockwell and Katharine Hepburn by Katharine Hepburn
Sidney Lumett filmed The Long Night for 37 days and cost $435,000.
Catherine Hepburn was nominated for Best Actress at the 35th Academy Awards for her ability to use subtle fears to portray changes in her personality in the film, but lost to Anne Bancroft (1931-2005), who played Helen Keller The Miracle Worker (1962).
However, at the 15th Cannes Film Festival in 1962, Ralph Richardson (1902-1983), Jason Robarts (1922-2000) and Dean Stockwell won the Best Actor Award, and Catherine Hepburn won the Best Actress Award.
Long Day's Journey Into Night (1962) is a British Blu-ray edition of the film Long Day's Journey Into Night
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