The Long Voyage Home

Synopsis: Aboard the freighter Glencairn, the lives of the crew are lived out in fear, loneliness, suspicion and cameraderie. The men smuggle drink and women aboard, fight with each other, spy on each other, comfort each other as death approaches, and rescue each other from danger.
Genre: Drama, War
Director(s): John Ford
Production: Criterion Collection
  Nominated for 6 Oscars. Another 3 wins & 1 nomination.
Rotten Tomatoes:
105 min

were taken, as well as inestimable booty.

By scoring several hits, our artillery...

about to sail to return to harbor.

under the fire of German anti-tank guns.

containing the Secretary's comment...

- Captain. | - Yes.

bombing in Chungking had been received.

Anyone left the ship, Donkeyman?

Not as I seen, sir.

- New man? | - Yes, sir.

Smith, signed on at Cape Town.

- Check him onboard. | - Yes, sir.

That crazy light don't work, sir.

So why didn't you report it | when the lights went out?

All right, Mister. | Check everyone in the fo'c's'le.

Swanson here. McDonald?

What? Oh. Oh, here, sir.



Davis. Davis!

I'm here.

- In here... | - What is it? What's going on?

What are you doing here, steward?

Just turned in for a wink of sleep, sir.

- You're a mighty quick sleeper? | - Yes, sir. Always was...

- Oh, tick him off. | - Yes, sir. Thank you, sir.

Do you always sleep with your clothes on?

It's my privilege.

That fellow belong to me.

- Who's missing? | - Driscoll, sir. Bunk's empty.

- Where is he, Swanson? | - Drisk?

Why... Huh.

He was here just a little while ago, sir.

He went to sleep, I suppose, | up on fo'c's'le head.

I go find him, tell him you want him, huh?

Stay where you are.

I know that you men have been | grumbling about shore leave.

When I found the native police | had picked up a seaman ashore,

I guessed it was Driscoll.

Me, sir?

- Did I hear my name, sir? | - Where have you been?

I've been having a bit of a nap | on the fo'c's'le head, sir.

Oh, it's a grand evening | to be taking a few winks on deck.

With that sun coming over the water, sir, | I was dreaming...

Never mind about that. | Let's have a look at your hands.

The other one.

The back of it, man.

There's a native policeman ashore | with a broken jaw.

No skin broken, sir.

Well, I'm glad for once | it's someone from another ship.

- Kransky. | - Here.

- Hansen. | - Here.

- Geary? | - Here.

- Rido. | - Here.

What happened, Drisk?

Dawson put up a bit of a fight. Ole.

I'm sneaking back to the boat | when two of them native police

with their white caps | and their brass buttons

step out and ask for my pass.

"There's a war on," says they, | "and you're not a neutral."

I never was a...

I never was a neutral in all my life.

- Well, one word led to another. | - What about the ladies?

The ladies will be aboard any minute now | with huge, big baskets of fruit.


Hey, what about the booze?

Under the fruit, there'll be a bottle | or two like this for each one of you.

- By jingo, we get drunk! | - Shut up, you square-head.

Yeah, shut up.

Would you have the Mate after us?

Well, I hope you enjoyed it.

I did.

There you are.

There's a bumboat | coming along the side, sir...

- Right, let them aboard. | - Pardon, sir?

- Let them aboard. | - Yes, sir.

I suppose you're wondering | why I'm relaxing discipline.

Why, no, sir. It's none of my business.

I thought the First had told you the orders.

They said the ship was being ordered | to the United States, sir, to pick up cargo.

- They tell you what the cargo is gonna be? | - No, sir.

It's ammunition, Mister.

Yes, sir.

Come on. Get them up.

Hey, get back there.

Come on. Get them up there.


You're in charge of this party. | And no rough stuff.

No, sir.

- You women bring booze? | - Where's the liquor?

Hold your horses, ape!

Is it trouble you're after?

Quiet! All right. All right.

You want the Mate down on our necks | to spoil all the fun?

Into the fo'c's'le with them. | Go along now. Come on. Get out of here.

Take them in, fellows. Go on, fellows. | Move along. Shake a leg.

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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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    "The Long Voyage Home" STANDS4 LLC, 2021. Web. 29 Nov. 2021. <>.

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