Trilogy comprising Davies? first three shorts: Children (1976), Madonna and Child (1980) and Death and Transfiguration (1983), corresponding to the same number of segments in the life of a man named Robert Tucker: his oppressive childhood, marked by abuse from his father and schoolmates; his maturity as a grey office worker tormented by his homosexuality, always by his mother?s side; and his last days, when he is overcome by painful memories of his past.
Terence Davies employs the memory?s way of storing songs, sounds, places and situations to create a diptych in which he reconstructs the life of a working class family before and after the death of the father, whose violent outbreaks of rage are burned into the memory of the mother and three siblings, forever marking their lives.
Bud, a solitary, introverted 12 year-old is a spectator of his own life, which takes place amid homely warmth with his mother and siblings, the hustle and bustle of his district and the cinemas in which he discovers an endless source of fantasy. The hostility of his teachers and classmates and discovery of his homosexuality intensify his loneliness.
David, a teenager, makes the most of his time travelling alone in a train to reminisce on the last stage of his infancy in a small Baptist community in southern USA and the enormous influence exercised upon him by his Aunt Mae, a former second-rate nightclub singer who became his friend and confidante while the Depression and war were destroying his parents? marriage.
New York, 1905. Lily Bart is causing a sensation among the jet set. Attractive, a lover of luxury, gambling and having fun, she has to choose between true love and the search for a rich husband to bolster her slender income, pay her debts and maintain her lifestyle. A series of wrong decisions spark rumours about her behaviour and lead to her progressive downfall.
Based on the montage of archive images and contemporary footage, Davies uses his own voice to look at his memories of the Liverpool in which he grew up, that of the 40s and 50s, later working towards the present day, stopping at some of the biggest events in recent British history and showing us the effects of time on his native city with comments fluctuating between poetry and irony, melancholy and anger.
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