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 ...
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Stephen Torino (Wilde), who is tricked by his brother Marco (Adler) into an arranged marriage with tempestuous Annie Caldash (Russell). Annie is willing to give the union a go, but Torino wants none of it.
A commander receives a citation for an attack on Rommel's headquarters, which is actually undeserved as the commander is unfit for his job. On top of that, unbeknownst to him, his wife is having an affair with one of his officers.
The last eighteen years in the life of Jesse James, showing his home life in Missouri, his experiences with Quantrill's raiders, his career of banditry with his brother Frank and the ... See full summary »
A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, ... See full summary »
Walter is told by his boss, Sara, to deliver an urgent letter to Henri de Corinthe. On the way he finds a beautiful woman he had been eying in a nightclub, lying in the road, bound up. He ... See full summary »
Roland Cassard is a young man with no job and seemingly no prospects. By chance, he runs into his former girlfriend, Cecile who works as a dancer at a cabaret under the stage name Lola. She... See full summary »
Christabel fools everyone with her sweet exterior including her cousin Donna and Donna's wealthy fiancée Curtis. The only one who sees through her facade is Nick, a rugged writer who loves ... See full summary »
Experimental anthology film consisting of nine segments - Contrasts, The Janitor, The Plumber, Another Wet Dream, The Happy Necrophiliacs, On a Sunday Afternoon, A Face, Politfuck, Flames - all focused on 70s sex, love and politics.
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
After crashing and burning with a couple of Hollywood epics director Nicholas Ray was in desperate need for work and from the looks of things a way to cover his bar tab when he took on a professorship in an upstate New York University and along with his students made this ambitious work of near total incoherency.
The film's form is a series of multiple disparate projections linked only by the fact they are sharing the same screen though I believe there are some attempts to sum up the chaotic times with a visual onslaught of youthful angst and insecurity goaded on by a dissipated over the hill film maker of Rebel Without a Cause. There's riot footage, frontal nudity by a student who refuses to put her pants on and someone taking David Crosby's advice in an overwrought mawkish scene shaving his beard. There is also the patch eyed visage of Ray in various states of consciousness trying to figure out a way to hang himself; "I made a dozen westerns and I can't tie a decent noose".
I was a film studies major around this time at another college and we more or less were doing the same experimentation (I recall writing on film stock) but with less hallowed Profs the likes of Ray (though we did have an instructor that resembled Lee Remick) . Our youthful exuberance matched his students but I can only imagine how buoyed they must have been under the guidance of a Hollywood legend, especially with the cool demeanor of a Ray. So bad as the finished product of We Can't Go Home Again is something tells me the journey for these kids made it more than worth the trip.
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