日暮之歌（有声）
http://n1audio.hjfile.cn/mh/2016/12/18/7f99b021835365118a323e8b81373cf5.mp3
First though, a director who has the same aim leading us outside our heads into an all-encompassing world, but with a more personal vision. He's Terence Davies, the Liverpool-born creator of semi-autobiographical dramas set in the 1940s and 50s like Distant Voices, Still Lives, a winner at Cannes in 1988, or the Long Day Closes. Like his even earlier trilogy films, these draw on his childhood on the traces of religion and the very idea of memory itself. Davies who's just turned 70, hasn't made many features. His projects are often personal and hard to categorise, although his filmography includes several period adaptations scripted by him. John Kennedy Toole's the Neon Bible, Edith Wharton's the House of Mirth, and most recently, Terence Rattigan's play the Deep Blue Sea. And now, four years on, comes Sunset Song, his screen version of a Scottish literary classic by Lewis Grassic Gibbon published in 1932, but set in the years around the First World War. And Terence Davies is with me now. Now tell me about your first encounter with the book itself.
"The one happened when the BBC's to have a Sunday serial on the BBC One. It was, Sunset Song is, I'd never heard of, the book, I waited for each episode. It was six 40-minute episode, nostalgia to wait. You couldn't record by night, and I ran and bought the book, which is quite hard to read initially, because it's in the Scottish dialect called Doric, but it's a wonderful story."
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