Long Day's Journey Into Night Page #5

Synopsis: Over the course of one day in August 1912, the family of retired actor James Tyrone grapples with the morphine addiction of his wife Mary, the illness of their youngest son Edmund and the alcoholism and debauchery of their older son Jamie. As day turns into night, guilt, anger, despair, and regret threaten to destroy the family.
Genre: Drama
Director(s): Sidney Lumet
Production: Republic Pictures Home Video
  Nominated for 1 Oscar. Another 5 wins & 4 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
93%
Year:
1962
174 min
3,031 Views


What the hell do you mean?

Don't start jumping down my throat.

God! Papa.

This ought to be one thing we can talk over, frankly, without a battle.

I'm sorry Jamie.

- But go on and tell me.

- There's nothing to tell. I was all wrong.

It's just that... last night...

Well you know how it is Papa.

I can't forget the past.

I can't help being suspicious anymore than you can.

That's the hell of it.

And it makes it hell for Mama.

- She watches us watching her.

- I know.

Well what was it?

Can't you speak up?

Around 3 o'clock this morning, I woke up and

I heard Mama moving around in the spare room.

Then she went to the bathroom. Now, I pretended to be asleep and she

stopped outside in the hall to listen as if she wanted to make sure I was.

For God's sake! Is that all?

She told me herself the foghorn kept her awake all last night. And every night since

Edmund's been sick she's been up and down going to his room to see how he was.

Yes, that's right. She did stop to listen outside his room.

But it was her being in the spare room that scared me.

Papa, I can't help remembering that when she starts sleeping alone in there

it's always been a sign.

But it isn't this time. It's easily explained.

Where else could she go last night to get away from my snoring?

How you can live with a mind that sees nothing but the

worse motives behind everything is beyond me.

Don't pull that! I just said I was all wrong.

- I suppose I'm as glad of that as you are.

- Yes. Yes. I'm sure you are Jamie.

It's been like a curse she can't escape if worry over Edmund.

- It was her long sickness after bringing him into the world that she first ..

- She didn't have anything to do with it.

- I'm not blaming her.

- Well who are you blaming? Edmund? For being born?

- You damn fool, no one was to blame.

- That bastard of a doctor was. From what Mama said he was another cheap quack like Hardy.

- You wouldn't pay for a first class doctor.

- You liar!

So I'm to blame, am I? That's what you're driving at.

You evil minded loafer.

- What were you two arguing about?

- Same old stuff.

I heard you saying something about a doctor

and your father acusing you of being evil minded.

Oh That? Well I was just saying again that Doc. Hardy

isn't my idea of the world's greatest physician.

No. No. I wouldn't say he was either.

That Bridgette! I...I thought I'd never get away.

She told me all about her second cousin on the police force in St. Louis.

Well if you're going to work on the hedge, why don't you go?

I... I mean... take advantage of the sunshine before the fog comes back.

Because I... I know it will.

That is... The reumathism in my hands knows it.

It's a better weather profet than you are James.

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Eugene O'Neill

Eugene Gladstone O'Neill (October 16, 1888 – November 27, 1953) was an American playwright and Nobel laureate in Literature. His poetically titled plays were among the first to introduce into U.S. drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. The drama Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire and Arthur Miller's Death of a Salesman.O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!). Nearly all of his other plays involve some degree of tragedy and personal pessimism. more…

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Submitted on August 05, 2018

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