I'm a fan who's read a lot of his plays but not seen many.
I will show you The Long Voyage Home (1940). I've written about it before; I don't know if I've recommended it to you specifically. It's the film of his Glencairn cycle—four one-act plays set aboard a tramp steamer, Bound East for Cardiff (1914), In the Zone (1917), The Long Voyage Home (1917), and Moon of the Caribbees (1918)—with the action updated from the first world war to the second, an ensemble cast of character actors, and some of the most complex black-and-white cinematography going in the years before Citizen Kane which, look at that, Gregg Toland also photographed. It's one of my favorite movies. It's a better piece of theater than the original plays; it has exactly one misplaced directorial choice; it's the only film of his work that O'Neill actually liked. And it is tremendously of the sea. I think you will like it.
The book was Caitlin R. Kiernan's From Weird and Distant Shores. And then they let me take it home in exchange for leaving a different book next time.
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I will show you The Long Voyage Home (1940). I've written about it before; I don't know if I've recommended it to you specifically. It's the film of his Glencairn cycle—four one-act plays set aboard a tramp steamer, Bound East for Cardiff (1914), In the Zone (1917), The Long Voyage Home (1917), and Moon of the Caribbees (1918)—with the action updated from the first world war to the second, an ensemble cast of character actors, and some of the most complex black-and-white cinematography going in the years before Citizen Kane which, look at that, Gregg Toland also photographed. It's one of my favorite movies. It's a better piece of theater than the original plays; it has exactly one misplaced directorial choice; it's the only film of his work that O'Neill actually liked. And it is tremendously of the sea. I think you will like it.
The book was Caitlin R. Kiernan's From Weird and Distant Shores. And then they let me take it home in exchange for leaving a different book next time.
Nice!