Please don't spend money on this.

Perfectly adorable

One of the best films i have seen

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Mary (Katharine Hepburn) and James Tyrone (Ralph Richardson) live with their adult sons Jamie (Jason Robards) and Edmund (Dean Stockwell). Their idyllic upper middle class facade hides alcohol and drug addictions by every member of this dysfunctional loving family. They pick at each other over the course of a day.Director Sidney Lumet puts a camera to this Eugene O'Neill play. These are some of the best ever movie actors doing some compelling work. They are firing off lines like sharp shooters with long range rifles. Nobody is missing a beat. Everybody is brilliant. However, that doesn't make it a compelling cinematic experience. Lumet keeps the play intact which limits its appeal. It becomes more of an act of endurance to stay engage with this family. Its single-minded tone really pushes the audience. Some may find familiarity with this unrelenting onslaught. Others may find comfort in simply walking away.

Having discovered O'Neills Mourning Becomes Electra a few months ago, I was interested in viewing this. Long Day just doesn't work in this era, because it's idea of drama is so limited; O'Neill shoe-horns dialogue/conversation into every opening. These characters have logorrhea. They talk everything out, then they break up into smaller groups and talk it out some more, then they move on to other groupings and talk it out some more, finally, as a finale, they talk it out some more. Words, words, words, words, words, words... After 30 minutes, you understand the psycho-dynamics and there's no real point in paying attention anymore. At one point this was controversial stuff, but any man on the street is now extremely familiar with the addictive personality and its resultant enabling, bullying & emotional manipulation. This family's problems are nor compelling. The movie is clearly going nowhere. In every scene they push each other buttons, and say awful things to each other; outbursts of no particular importance arrive about every 8 minutes.Mourning Becomes Electra has somewhere to go, and revelations that matter to the story. LDJiN hashes and rehashes the same points over and over. MBE is even more stagy and dated, but it has some actual shocks to deliver. Hepburn acting 'overwrought' is too familiar from her success. Her hop-head is hysterically inaccurate. She just comes downstairs cheerful and chatty after shooting up. Richardson is by far the worst here; a charter member of the British elocution club. He has an inexpressive stone face, with no perceptible emotional range.Strictly for people convinced that a string of outbursts is the height of drama. Who's Afraid of Virginia Woolf is it's spiritual sibling (and also a slog to watch!). But The Little Foxes is more acid, with superior structure.

Long Days Journey Into Night is directed by Sidney Lumet, is written by Eugene O'Neill and is based upon his play. The film stars Jason Robards, Katharine Hepburn, Dean Stockwell and Ralph Richardson.This is the story of how one upper class family slowly falls apart. Catholic convent educated Mary Tyrone(Katharine Hepburn)is the long suffering wife of cold,mean and miserable James Tyrone(Ralph Richardson).His obsession with keeping a tight fist around the families cash has caused more misery and tragedy than they can cope with.Mary for many years has been a drug addict and one summers afternoon she takes up the habit again unable to cope with news of her youngest sons illness.The youngest members of the family are alcoholic and strong willed poet Jamie(Jason Robards)and the young brother he adores Edmund(Dean Stockwell).Edmund has caught consumption and is gravely ill,he Jamie and his father try and hide it from Mary but she suspects and just can't handle it.Jamie argues with his father over his reluctance to send Edmund to the best doctors due to his watching the money so carefully.After getting a grave consultation and being ordered to a sanatorium the men arrive home to more pain than they can deal with and as afternoon turns into night hatred,fear,declarations of love and anger are revealed as they struggle to cope with or ease the pain of their situation.The relationship between Jamie and Edmund is the highlight of the film, Jamie's two great loves in life are booze and Edmund,who is the one thing in life that keeps him human and allows him moments of being nice and normal.However he resents him due to the fact his difficult birth started their mothers long use of drugs.The scene where he explains all this to Edmund is heartbreaking and electrifying and Jason gives such an intense and haunted performance that it's a shame he didn't win an award.Perhaps a little too theatrical at times(Ralph certainly is)it all adds to the riveting effect of the film as you are dragged into this battleground with this damaged group of people.Also starring Jeanne Barr as their young maid Kathleen,Long Days Journey Into Night will move and grip you in equal measure and features some career best performances,without a doubt this is a must see.

In her long distinguished career, some of Katharine Hepburn's performances were mannered, while others were over-praised because of her near-mythic status. However, her Mary Tyrone in "Long Day's Journey into Night" was decidedly neither. Director Sidney Lumet crafted a meticulous filming of the Eugene O'Neill play without distracting from either the words or players with self conscious touches. But, the master director managed to keep his camera flawlessly positioned to capture the genius on display and maintain audience involvement. Boris Kaufman's low-key black-and-white cinematography was constrained by the largely one-set indoor stage, but managed to utilize light and shadow for timeless images of familial disintegration.The direction, cinematography, music, and editing all remain unobtrusive, however, so the incomparable work of a quartet of exceptional actors stays in focus. Dean Stockwell and Jason Robards play Jamie and Edmund Tyrone, the troubled sons of James Tyrone, an aging miserly actor. Like the two younger actors, Ralph Richardson has arguably done nothing that eclipses his work herein. O'Neill's masterwork is well served for posterity by the cast in this version. However, Katharine Hepburn raises a near-perfect record of a classic play to an even higher level. Hepburn's Mary Tyrone may not only be her finest screen work, but may rank among the greatest performances committed to celluloid. While day matures from morning to noon to night, the four Tyrones engage each other together and separately over issues that have simmered for a lifetime. Meanwhile, the day fades, and Hepburn's Mary descends from the light into the darkness as her grip on sanity ebbs with the sunlight and she retreats into the shadows of the Tyrones' dimly lit parlor.The film is nearly three hours long, but the words are rich, and the players obviously relish the lines. Patient viewers who seek familiarity with O'Neill's play could not find a better venue. Fans of any one of the four major cast members will find the film essential viewing, and those who want to see Katharine Hepburn at her apogee need look no further.