The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of film-making as a "communal way of life." Ray plays himself in the ... See full summary »
The big national crime syndicate has moved into town, partnering up with local crime boss Nick Scanlon. There are only two problems: First, Nick is the violent type, preferring to do things... See full summary »
Nick Cochran, an American in exile in Macao, has a chance to restore his name by helping capture an international crime lord. Undercover, can he mislead the bad guys and still woo the handsome singer/petty crook, Julie Benson?
Josef von Sternberg,
In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published. All he meets is defeat and suffering while his sense of ... See full summary »
Drawing on Nicholas Ray's archive of never-before-seen film, video, and stills, his wife Susan investigates the questions of his work and the relationship forged by Ray between his life and... See full summary »
Tokyo, at the beginning of the 21st century. The lives of five young people, each of them struggling to find meanings of their existence, start to cross mysteriously with each other, and will experience unexpected turns in their paths.
The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of film-making as a "communal way of life." Ray plays himself in the film, serving as mentor, friend, and artistic inspiration to his students. Written by
good luck seeing this, but if you get the chance, don't miss it
Nicholas Ray cut two different versions of this film over the course of almost a decade, and unfortunately only the earlier cut, considered the inferior one, survives. Nonetheless, this is a mind-boggling film made with his students at SUNY Binghamton, a film which challenges most cinematic conventions of narrative (and technique) without coming off as merely "an experiment". The final "shooting" of the film alone is worthy of an essay: instead of optically printing and collaging the material, which was shot on various formats (35mm, 16mm, video), Ray and his dedicated crew actually rented a soundstage, set up a series of different projectors, and literally _performed_ the film live on a screen surrounded by an intermittently changing photographic "frame". The result completely prefigures the emergence of "film performance" artists in the decades to follow and surely makes WE CAN'T GO HOME AGAIN the only feature film by a major director to be constructed in such a fashion.
Furthermore, as a time capsule of late-1960s/early-1970s politics, sexual dynamics and freedom from convention, it's essential. Partially improvised and partially scripted, it can come off as a glorious mess at times, shot through with madness, but the overall effect is devastating. A very real-life electricity informs nearly every sequence; it's almost painful at times. WE CAN'T GO HOME AGAIN would be the final statement of a brilliant, neglected director, but more importantly, it's one of the most audacious features to be made by a director of films such as REBEL WITHOUT A CAUSE. A masterpiece.
30 of 34 people found this review helpful.
Was this review helpful to you?