*Warning: This feature may contain some film spoilers for The Player No matter what the industry is there will always be hypocrisy, greedy, and backstabbing. No corporation is exempt of … Continue reading Unconventional Narrative: ‘The Player’ and its Expose of Hollywood Greed
*This play/miniseries can be watched in its entirety for free HERE
The Movie and Performance:
Between the years of 1941-42 playwright Eugene O’Neill penned the four act play entitled Long Day’s Journey into Night. O’Neill was a prolific playwright, whose work was among the first to portray the underbelly of society. His plays were stunningly dramatic and often presented an image of individuals who thrive off pessimism and the devaluing of others. Due to this unique writing vantage, O’Neill was recognized for his work and received many accolades as a result. During his life, O’Neill was awarded the Pulitzer Prize for Drama three times for Beyond the Horizon (1920), Annie Christie (1922), and Strange Interlude (1928). O’Neill would ultimately be awarded the Nobel Prize for Literature in 1936. Despite these tremendous successes, Long Day’s Journey into Night is still considered to be O’Neill’s greatest play, if not one of the greatest plays of all time. Ironically, O’Neill never lived to see the play performed. The play was not published until 1956, three years after his untimely death. O’Neill had stipulated that Long Day’s Journey into Night, which he considered to be autobiographical, not to be published until 25 years after his death. His widow, actress Carlotta Monterey, decided to have the play published hastily regardless of O’Neill’s wishes. She was able to achieve this by transferring the rights of the play to Yale University and having all proceeds from the play benefiting the Eugene O’Neill Collection, such as the establishment of drama scholarships for the school. As a result, Long Day’s Journey into Night, for the first time, was able to be produced as a Broadway play. It was an instant success and even succeeded in winning O’Neill posthumously the Tony for Best Play in 1957, but also the Pulitzer Prize for Drama.
O’Neill considered Long Day’s Journey into Night to be a very personal, autobiographical narrative that revealed much about his life and family. The correlations are stunning when contrasting them with his own life. The play’s themes of addiction, lives that once were, aspirations lost, and the concept of truth, were all aspects of O’Neill’s own upbringing that dramatically affected him. His father, James O’Neill, was once a successful actor who lost his career when accused of “selling out” and later became an alcoholic. His mother, Mary, was deeply religious, had attended a Catholic school, but was tragically addicted to morphine after the birth of her third son, Eugene. Addiction was prevalent in his family with O’Neill’s brother, Jamie, ultimately drinking himself to death. O’Neill’s own sons suffered from addiction. Eugene O’Neill Jr. was an alcoholic who committed suicide in 1950 and Shane O’Neill was a heroin addict who would also commit suicide in 1977. Eugene O’Neill further suffered from tuberculosis, to which he was sent to a sanatorium to recover, which would be the basis of conflict within the play. When detailing the personal life of O’Neill, it becomes immediately evident as to why Long Day’s Journey into Night is considered to be his most profound work. It is because the play was a cathartic confession about his upbringing, presenting a bleak and hopeless image of persons who have mentally given up their aspirations and have settled for a life of despair and addiction.
It should be noted that Long Day’s Journey into Night is not a play meant for entertainment. It is an uncomfortable representation of true-life, giving the audience a vantage of a family’s personal conflict with each other and life. The play occurs in the span of one day and centers around the Tyrone family, who live in a cottage in Connecticut. The foundation of the story centers around Edmund, who has been diagnosed with tuberculosis and will be sent to a sanatorium in the next day to recover. This information is being deliberately kept from the family matron, Mary, who is a morphine addict and recently back from the hospital. However, the family patriarch is a self-absorbed man who hides himself from the truth, especially with his alcoholism. The play functions more off its themes than plot and characterization. Interaction is how the play thrives and progresses the narrative forward. The Tyrone family thrives off memories of the past, yet those memories are skewed, challenging the concept of truth. As Mary Tyrone blatantly states, which is a prevalent theme in the play, “I only want to remember the parts of the past that make me happy.” Ironically that statement, when put in use by the various characters, conveys profound sadness of individuals reflecting on lives they could have had and what they have settled for. This burden of truth is too impactful for such characters, who then utilize addictive substances to escape reality. The issue is that the stand-still nature of their lives leave them with no substantial goals or life aspirations. They merely exist, and as a result, they suffer daily due to it.
Ironically, in contrast to the characters’ avoidance of it, the play is brutally honest. Long Day’s Journey into Night doesn’t offer redemption or chances of hope because that is not the reality presented with the Tyrone family. This family consists of persons already lost and the events that occur within this single day is part of a never-ending cycle of despair, depression, and probably death.
This 1987 television “miniseries” version of the play shouldn’t be considered a miniseries at all. The reasoning behind this is because this adaption of Long Day’s Journey into Night was a mere taping of their highly successful 1986 Broadway revival of the play. This “television adaption” consisted of a single, simple set where all characters interact within. There is no music and there are minimal scene transitions. The only variation is the multiple camera angles that give the viewer of the play the best possible vantage of the action occurring upon the stage. This was filmed precisely how it was intended to be presented to the viewer by Eugene O’Neill. It is devoid of anything that would liven its content or any Hollywoodization. Furthermore, this revival was a successful Broadway production that was staged at the Broadhurst Theatre in New York. This revival was recognized at the 40th Tony Awards (1986) with nominations in the play categories for Lead Actor (Jack Lemmon), Featured Actress (Bethel Leslie), Featured Actor (Peter Gallagher), and Direction (Jonathan Miller).
The 1986 revival is stunningly brilliant. In order for the play to be functional and impactful, the language of the play must be delivered in a specific manner. The cast does not falter even slightly. Jack Lemmon, especially, is incredible in his acting by delivering his lines with disdain and a contemptuous demeanor. Lemmon’s acting conveys James Tyrone as an individual who has blinded himself to his past, is self-absorbed, and compensates his failures by asserting himself as the ultimate authority figure. Lemmon also perfectly captured the denial of alcoholism throughout the play, emphasizing aggression and irritation when being called out on it, yet seeking the first opportunity possible to begin drinking and continue that process. It’s not until the play’s fourth act when James Tyrone is drunk that Jack Lemmon was able to infuse incredible vulnerability and tragedy into the character when he laments about his former stage career and how he lost it when he became typecasted. Yet despite that, during Lemmon’s near 50-minute monologue, he was still able to interject instances of superiority and resistance to the truth. Lemmon conveyed the character as someone who desires to be pitied, yet becomes infuriated when others do precisely that. This was such a different performance for Jack Lemmon, one that deviated from anything he had achieved before in his career. In short, Jack Lemmon is brilliant in the lead role of Long Day’s Journey into Night.
However, the real scene-stealer from the play was Bethel Leslie as Mary Tyrone. Her performance as the fragile, morphine-addicted matriarch is a presence that demands attention. She crafted the character as someone who is so ashamed of her current circumstance, continually reflecting on a past that could have been. She laments about how she could have been a nun or concert pianist, but chose marriage instead, leading her into a life of misery and social isolation. Her drug usage is her crutch to escape that circumstance and sadly remind herself, when she’s alone, of instances of the past she can cherish. Ironically, the drugs are also a truth serum for her when she is in the company of her family, causing her to directly call out their failures and their hypocritical nature. Bethel Leslie was stunning that regard, having the behavioral demeanor of Mary Tyrone fluctuate from being loving to infuriated within a matter of seconds. Her line delivery in such scenes are incredible by how she was able to pour paragraphs of scathing commentary to all those around her while her facial expressions were that of pain and torment. The greatest achievement of Bethel Leslie was her being the figure of suffering within the play. She gave the character sympathy in her portrayal, but also was sure to offer enough conflict in her personality too, conveying to audiences she’s no better than the rest of the characters surrounding her. In her vast career, Bethel Leslie is primarily remembered for this performance, and it is completely understandable as to why.
Since this production was filmed and aired on television, it was submitted and eligible for both Emmy and Golden Globe nominations. Jack Lemmon was nominated in the Lead Actor in a Miniseries category at the 1987 Golden Globes for his portrayal as James Tyrone. He unfortunately didn’t win.
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*The content of this opinion feature are my own opinions and I do not speak for any group or institution.
In a moment of tragedy I cannot help but think about life, mortality, and how one should absorb these moments. I’ve come to learn in recent years that it is taboo to express one’s own internalized thoughts openly. It’s been argued to me that life is so complicated already, so why create unnecessary drama that continues that process? Truth is, for most of my life I’ve worried so much about spilling my personal opinions and qualms onto the lives of others. Yet after the horrific tragedy in Orlando, I cannot stay silenced regarding this incident. I’m not going to mention politics. That’s being overdone at an obscene level already between those who seek to push their agenda regarding immigration and gun control. Me personally, I’d rather speak about this issue on a personal level. I believe emphasizing to those who cannot understand why this tragedy affects me and many more is equally important. It is because the events in Orlando have threatened to push back the safety of the LGBT community. It is because our general trust about being open in public has been challenged and threatened. Even worse, those who are already scared to be open may now take longer to be themselves out of fear for their safety.
For me, I can say that I was fortunate to grow up when LGBT acceptance was better. Not great, but better than in the past. I wasn’t in the position that when I realized my sexuality that I had to repress it for the entirety of my life. Instead, when I was finally ready, I could openly declare who I loved and hope that I would be accepted for it. That was the theory. It didn’t exactly go that way. That process wasn’t easy in the slightest despite it seeming so. The straight community will never experience how confusing and frightening it is for a child to realize at the age of 12 that they are attracted to the same gender and becoming terrified with the possibility that they might no longer be loved because of who they love. So they, like I did, suppress it. Or worst, like I did, pretend they were something that they weren’t for years.
Worse, I had a mental breakdown in my teens while in the process of trying to pretend to be someone I wasn’t. Simply put, I didn’t have the strength to pretend. I had tried for years and was left with this empty feeling deep inside of me that screamed I wasn’t worthy, I wasn’t good enough, that I was an embarrassment. That’s something that affects you. It stays with you. I still struggle daily with the issue of “do I belong.” I still find myself staring in the mirror at my reflection giving myself pep talks to boost myself outside of my nerves. Most straight people will never understand this. They will never understand the fear of simply being. For me, I am not one of those blatant persons who says ‘screw the world, I’m me.’ I truly respect those who have that capacity. In fact, I envy them. Relegated to me, I’m sensitive, shy, and often afraid to express myself as I should. This all stems back to a sense of belonging. I grew up being afraid to be myself.
For those who know me well, they would be aware that I suffer from depression and anxiety. I have my whole life and I am not ashamed to admit these shortcomings. They are a part of me and I accept them as being a part of the package that is ‘Daniel.’ I don’t blame my sexuality for these. I never would. I’m sure my genetics plays a role in this, but I also think growing up believing that I was inferior affected my psyche dramatically. It especially doesn’t help that those around me who I deemed to be my “friends” often told me to “stop acting gay” and that they wouldn’t want to be around me if “I acted like those people.” Therefore, I framed myself as a ‘straight person who sleeps with guys.’ It was a pathetic attempt to fit in, and sadly, it worked. I was able to make “friends” by doing that. Truth is, these “friends” used me to make themselves feel better about themselves. They loved to diminish me, ridicule me, tease me, laugh at me…but of course, it was “all in good fun.” I was so desperate to be accepted that I took these insults willingly. It wasn’t until I met my boyfriend who took one look at these people and said, “Why are you surrounded by people who are making fun of you?” Worse, these people flat-out told my then-new boyfriend (still with him at almost 6 years) that I was “high maintenance” and he was better off without me. These “friends” didn’t even want me in a relationship. Yet I was so desperate for friends that I endured their harassment until my boyfriend awakened me to the reality that these people were actually harming me. Point is, it took simply one person I could truly identify with that made me realize that I deserved better, that I deserved to have a voice, and that I didn’t have to minimize myself to be accepted. That is why the gay community is so important, because they provide the chance and prospect for others to discover who they are and let them be who they are. We are more than a community, we are a support network.
How does this relate to Orlando? It does because this level of acceptance issues is still prevalent with so many young, middle aged and older gays in this country and world. The straight community will never fully understand the concept of having a sanctuary where one can walk in and truly be themselves. I didn’t have that when I was younger. The younger generations are so much more fortunate cause they have these places, clubs, and events that encourage them to be themselves. Yes, it may seem like a bar or a club to you, but it’s actually a place where we can be free and devoid of the garbage and political jargon we have to deal with continuously. It’s a place where we can be who we want to be. We don’t have to pretend. It’s a place to smile, dance, meet people, and make connections. Of course, like any establishment these are also places to meet up and take things to another level, but is that honestly any different than any other place of the same magnitude? It isn’t. Yet the difference is, the straight community, for all their acceptance, still does a second glance when gays hold hands in public or kiss. Those fears are non issues and are eliminated in the bars and clubs. It’s a place where we can congregate as a community and be united.
The Orlando shooting has threatened that. It has taken decades for the LGBT community to establish themselves, establish sanctuaries, and further gain trust with these institutions. The Orlando shooter has now caused the LGBT community to momentarily second guess whether they want to go to these sanctuaries. Will this murderous coward succeed? No. Absolutely not. We as a community are united and we will remain united. However, the trust of being safe has wavered. We all will, to some degree, hesitate about walking into a gay bar and club and think, ‘Will I be safe?’ Of course we will walk in, have fun, and be ourselves because we deserve it and shouldn’t ever take steps backwards. Yet now we might momentarily pause and consider our safety for a brief second and that’s not fair. It’s not fair that we have to consider that possibility. These locations were one of the few places gays had that were exclusively their own and they have now been threatened. We have been threatened with hate, hatred of who we are, and that we exist.
I speculate that if I had access to these establishments, clubs, or even the community in general when I was younger, perhaps I would have more confidence in myself. Perhaps I wouldn’t suffer from debilitating anxiety. I fear that what has happened in Orlando will scare off young individuals like I was when I was younger. I fear these individuals will be scared to come to these places and understand that they do matter and that there is a community that will accept them. I fear they will step back and embrace “friends” who will diminish them and they will accept it cause it’s people showing them attention. I fear there will be a generation of LGBT persons who will be scared to be themselves in public. Sure people will continue to frequent these places regardless. I am speaking for those who barely had the courage to show up to begin with. There are thousands of LGBT persons who are shy and sensitive and even going to a gay pride parade is a big leap for them. I know because I was and still am one of those persons. These people deserve a voice and encouragement too.
What happened in Orlando reminds us all that our time here on Earth is valuable and limited. We never know when the clock runs out, but don’t we deserve that time to be maximized to the best that it can be? The best we can do to maximize our time on an individual level is to not give into fear. Do not let it define you. Do not let it conquer you. Life is already so complicated as it is and we cannot let disgusting, villainous persons/groups cause us to take a step to the side and stop being who we are. I’ve read that the killer initially became enraged when we saw two men kissing. My response: LGBT community, start kissing in public more. Show the world that we are people too! We deserve love too! We deserve the right to express our love openly! If this Orlando killer’s intent was to scare us, wrong move. This only enrages us and causes us to become more united and fight even harder for what we know we deserve. But don’t forget about those who are scared to make that first move. Look out for them. Help them. They need help now more than ever.
Summed up in a few sentences: To those who aren’t as vocal as others, don’t let what has happened scare you. Please, do not let what happened stop you from being who you are. A movement starts on a individual level and we need you. Don’t ever stop fighting for what you deserve.
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