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We Can't Go Home Again (1973)

TV-MA  |   |  Drama  |  2 October 2011 (USA)
5.8
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Reviews: 7 user | 19 critic

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 »

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Cast

Credited cast:
Richard Bock ...
Richie (as Richie Bock)
...
Tom Farrell
Danny Fisher ...
Danny
Jill Gannon ...
Jill
Jane Heymann ...
Jane
Leslie Levinson ...
Leslie
Stanley Liu ...
Stanley
Luke Oberle ...
Luke
Nicholas Ray ...
Nick Ray
Ned Weisman ...
Ned
Phil Weisman ...
Phil
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Storyline

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 Anonymous

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Drama

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TV-MA | See all certifications »
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Release Date:

2 October 2011 (USA)  »

Also Known As:

Gun Under My Pillow  »

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Technical Specs

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| (Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Connections

Referenced in Henri Langlois: The Phantom of the Cinémathèque (2004) See more »

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User Reviews

 
good luck seeing this, but if you get the chance, don't miss it
29 November 2005 | by (Braintree, MA) – See all my reviews

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.


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