The Long Day Closes

The Long Day Closes

Set in Kensington, a working-class district of Liverpool, England in mid-1950s, this is the story of eleven-year-old Bud, a sad and lonely boy. With cinema as his main source of solace, he haunts the local 'picture-house'. All the while, his family looms large in our peripheral vision as do the menacing bullies of his school, but Bud is the centre of attention both from the camera's angle and from his doting family.

The Long Day Closes is the story of eleven-year-old "Bud." A sad and lonely boy, Bud struggles through his days. With cinema as his main source of solace, he haunts the local movie-house. ... . You can read more in Google, Youtube, Wiki


The Long Day Closes torrent reviews

Andrew M (ag) wrote: The Muppets is entertaining and will take you back to your childhood if you grew up with the Muppets. The movie is based of the Muppet Show, but you do not need to see any of the episodes to see the movie. The Muppets is hilarious and has an amazing plot. I would very much suggest this movie.

Philip C (ru) wrote: SPOILER WARNING -- THIS REVIEW DISCUSSES KEY PLOT FEATURES AND SHOULD NOT BE READ BY ANY VIEWER INTENT ON SEEING THIS MOVIE WITHOUT KNOWING ANYTHING ABOUT THE PLOT BEFOREHAND! This is a deeply moving and complex movie that explores the troubled relationship that exists between modern-day Germans and Israelis, between Israelis and Palestinians, and between gay men and straight men. Few movies could pull off such an ambitious venture successfully -- yet Walk on Water does this highly effectively, without ever becoming preachy or moralistic. Eyal is a hardened assassin who works for the Mossad; the movie opens with a scene in which Eyal kills a Hamas leader in front of that man's wife and young son. Eyal returns to Tel Aviv, where Menachem (his boss) and his colleagues congratulate him on a job well done. However, upon returning home, Eyal finds that his wife, Iris, has committed suicide by taking a massive overdose of prescription medication. In deep denial, Eyal is considered by Menachem to be in no shape to take part in another complex operation, at least not without first seeing a clinical psychologist (which Eyal flatly refuses to do). Menachem therefore decides to give Eyal a less emotionally challenging assignment -- to track down the whereabouts of an old Nazi (Alfred Himmelman) who had been living in South America, but who had mysteriously disappeared about two months before the movie opens. Menachem is aware that the old Nazi has two grandchildren (Pia and Axel) -- Pia lives in a kibbutz in Israel, and Axel lives in Berlin. Axel wishes to visit Pia to persuade her to return to Berlin for their father's 70th birthday party, and Eyal is tasked with posing as a tour guide, ostensibly to protect Axel from suicide bombers (his real role is to learn whatever he can from the siblings about the whereabouts of their grandfather; to this end, he plants a bug in Pia's living quarters at the kibbutz). With reluctance, Eyal accepts this assignment, and takes Axel on a sight-seeing tour of Israel and of the Palestinian towns. He soon learns, as does Axel, that Pia is absolutely determined never to return to Berlin or to visit her parents again, but Pia does not disclose the reason for her loathing of both her parents and their mansion in Berlin. At first, the two men are like oil and water -- Eyal bitterly complains to Menachem that he is escorting a "pseudo-liberal" around Israel, and denounces Menachem's determination to "get Himmelman before God gets him", considering this assignment to be a waste of precious time and resources, given Alfred Himmelman's extreme old age and ill health. However, as this movie unfolds, a bond forms between Eyal and Axel. Against his preconceptions, Eyal cannot help but start to like Axel, who is outgoing, friendly, and clearly disgusted by the role that Germany played during World War II. It is at this point that the plot becomes very interesting -- those viewers who are gay (in the interests of full disclosure, I acknowledge that I am such a viewer) see the gradual but inexorable unfolding of both sexual and romantic attraction between Eyal and Axel, particularly on Eyal's part. Pia is definitely attracted to Eyal, but Eyal shows absolutely no sexual or romantic interest in her whatsoever. A pivotal scene occurs when Axel and Pia pantomime and sing along to the song "Cinderella Rockefella" by Esther Ofarim at the kibbutz; the brother and sister so clearly and openly love each other that members of the audience are moved and cheered by the sight of these two young Germans loving the song and loving life itself. It is against this backdrop that the movie explores Eyal's unspoken sadness as he reflects on the suicide of his wife. Tension is introduced when Axel obtains the address of "the best party in town" from their waiter at a fine restaurant in Tel Aviv. The trio venture to this address, where Eyal is confronted by the sight of gay men dancing with each other; Axel is clearly sexually interested in their waiter Rafik, who also happens to be an Arab! Eyal leaves the gay club in apparent disgust -- but nothing is quite as it seems, as countless gay viewers have remarked. At the end of Axel's two week vacation, Eyal drops Axel off at the airport. When Axel gives Eyal his address in Berlin and invites him to visit should he ever travel to Germany, Eyal bluntly informs Axel that he has never been to Germany and has absolutely no desire to visit that country (in fact, we learn that Himmelman murdered thousands of Jews living in Germany, and that Menachem's parents and Eyal's parents were among those who were killed in the Holocaust; Eyal grew up in Germany, and unknown to Axel and Pia, speaks perfect German). Eyal did not bother to listen to the last recording of a conversation between Pia and Axel, in which Pia explained that her reason for never wishing to return to her parents' home in Berlin is because she learned, inadvertently, that her parents were protecting the grandfather, despite having told both siblings that Alfred Himmelman had died at the end of the war. With macho posturing, Eyal blusters and complains to Menachem that he wasted precious time taking a "homo" on a sight-seeing tour of Israel, much to the amusement of one of his colleagues. Menachem listens to the last recording, and sends Eyal to Germany to find out more about the whereabouts of the old Nazi. Axel is shocked and surprised by Eyal's visit; Eyal haltingly tries to explain that he decided to visit Axel because he felt guilty about the manner in which he had treated Axel upon learning about Axel's sexual orientation, and wished to visit Axel in a display of genuine friendship. To his shock and amazement, Eyal confronts Menachem at a caf where both he and Axel stop for coffee ? Menachem explains in Hebrew that he is there to watch over Eyal. By now, it is clear to any sensitive viewer that more is taking place than meets the eye; Axel takes Eyal to a local gay bar, where Eyal starts asking pointed questions about gay sex, and about what it is that Axel enjoys doing in bed. Axel invites Eyal to his father?s 70th birthday party, where Eyal is greeted graciously and courteously by Axel?s mother and father, despite his acknowledgement that he is an Israeli visiting Germany for the first time. However, a terrible shock awaits both Eyal and Axel ? after the birthday cake is wheeled in and Axel?s father is congratulated, Alfred Himmelman ? frail, walking with a Zimmer frame, and accompanied by a nurse ? enters the room, where his father introduces him to the guests. Eyal takes off in horror and storms into Menachem?s hotel room, insisting that the two of them abduct Himmelman and bring him to justice in Israel; Menachem explains that the two of them are alone, without backup, and that Eyal?s role is to ?terminate? Himmelman with a syringe filled with poison (he gives Eyal several vials of poison and a hypodermic). Axel ? horrified and disgusted ? searches for Eyal, and upon entering Eyal?s empty bedroom, finds a dossier filled with information about Himmelman, Pia, and himself. He waits for Eyal to return to the mansion, and (not noticed by Eyal) observes as Eyal loads the hypodermic with poison and prepares to ?terminate? the old Nazi. However, as he looks down at the frail old man, he falters and cannot complete his assignment. He turns, sees, Axel, and silently walks past him, entering Axel?s bedroom. Axel quietly strokes the old Nazi?s face and turns off his oxygen, killing him without further ado. He then returns to his bedroom, where Eyal is waiting for him; Eyal breaks down and admits that his wife, Iris, left a suicide note for him in which she explained that Eyal killed everybody that he got close to, and that he simply cannot kill anymore. He breaks down and sobs, at which point Axel holds him, comforts him and strokes him, in a scene which is as homoerotic as it is touching? Gay viewers pick up very quickly on the fact that Eyal slowly falls in love with Axel -- a contention denied by straight viewers (particularly straight men) with depressing regularity, despite cues that are so obvious as to render any debate facile and naive. The scene that unfolds at the gay bar, where Eyal asks Axel about the mechanics of gay sex, and what it is that Axel enjoys doing in bed, is one of blatant flirtation! -- the body language, the subject matter, the looks exchanged between the two men -- all point, unambiguously, to the awakening sexual interest Eyal feels towards Axel. We realize that Eyal stormed out of the gay club in Tel Aviv because the emotion that he really felt, watching Axel dancing with Rafik and touching him, was jealously! As he spends more and more time with Axel, Eyal becomes increasingly protective and caring about him, at one point profoundly embarrassing both Axel and Pia by getting into an argument with Rafik?s uncle, a Palestinian store-owner, about the (entirely reasonable) price that Rafik?s uncle charged Axel for a jacket (100 Euro, which Eyal snatches for only 20 Euro). Although he has been sent to Berlin by Menachem on an assignment, the look on his face when he sees Axel emerge from the school at which Axel teaches young immigrant children is one of a love-sick young man. He buys Axel a CD of Hebrew folk music, which Axel really enjoyed upon hearing it in Israel, and it is obvious that Eyal becomes more and more attached to, and caring for, Axel as he learns more and more from this gentle, kindly German and from his attitudes towards his nation?s past, his goals in life, and his decisions? The only false note in this movie is the very end scene. Two years later, we are confronted with the fact that Eyal and Pia are married and have a son named Tom. This scene is utterly incongruous, in that Eyal displayed absolutely no sexual or romantic interest in Pia whatsoever, and it is clear from the context that this ending was tacked onto the movie so as to prevent the backward yokels in the red states from having ?issues? with the movie and almost certainly boycotting it, or otherwise denigrating it. As the rest of the world advances with respect to the rights of gay persons, America continues to move full tilt backwards with respect to this particular issue (for example, the passage of ?Proposition 8? in California, the challenge to the Maine gay marriage law, etc.). There was not a hint of attraction between Eyal and Pia from Eyal?s perspective (although Pia clearly lusted after Eyal!). This ham-fisted ending nearly ruined the movie, and this reviewer recommends that any viewer interested in the true progression of the relationships that unfold in this movie turn off the DVD player immediately after the scene in which Eyal goes to Axel?s bedroom, breaks down, and is cradled and comforted by this openly gay man. This is a deeply moving and complex movie, almost certainly underappreciated by the vast majority of viewers (particularly American viewers, who appear to become dumber and dumber with each passing year, as was so evident when the pretentious piece of kitsch named ?Crash? earned the Oscar for ?Best Picture? about four years ago). If you are the sort of viewer who is offended by gay sexuality, don?t see this movie. If, on the other hand, you are interested in the true complexities of relationships ? both gay and straight ? this movie is a must-see for any intelligent viewer. PHILIP CHANDLER

Glen O (fr) wrote: A great coatroom drama with a double-twist ending. While straying quite a bit from the Agatha Christie source material it also includes much of the dialogue of the original play with its characteristic Christie style.

Rockbabe m (gb) wrote: Great film,actors were brilliant,war & romance, humour & poetry plus for fab scenery and interiors from Italy & R.S.M. etc.. black & white movie in fantastic quality. I recomend it.