Lightning Over Water (1980) - News Poster


Capturing The Screaming Man on the Bridge by Anne-Katrin Titze - 2017-09-16 22:13:47

Harry Dean Stanton with Nastassja Kinski and Wim Wenders Photo: Tom Farrell

Tom Farrell, who started out studying with Nicholas Ray, also has a long history with Sam Shepard and Wim Wenders, who co-directed Ray's final film Lightning Over Water. Tom appeared in Wim's Until the End of the World, Faraway, So Close!, Don't Come Knocking, and had a very memorable scene with Harry Dean Stanton in Paris, Texas, written by Sam Shepard.

Tom Farrell with Harry Dean Stanton on the bridge in Paris, Texas

After hearing of Harry Dean Stanton's passing on September 15, 2017 from natural causes at the age of 91 in Los Angeles, Tom sent a remembrance of what is now famously called "The Screaming Man on the Bridge with Harry Dean Stanton" that was shot by Robby Müller in December of 1983, cued by assistant director Claire Denis.

"The film crew drove north of Los Angeles for about
See full article at »

Under the satellite by Anne-Katrin Titze

Until The End Of The World director Wim Wenders with Paul Auster and Sam Shepard at Balthazar in 2005: "Actually, he [Sam] is the guy I offered the film first." Photo: Tom Farrell

In the second instalment of my conversation with Wim Wenders on the 25th anniversary of his masterwork from 1991, he discussed the influence that Sam Shepard had on Until The End Of The World (Bis Ans Ende Der Welt) and how it was his "dream come true" that Jeanne Moreau "accepted to travel all the way to Australia with us and spend months and months in the Outback."

Wim spoke about the relationship between Max von Sydow and William Hurt, the contributions from Peter Carey and Michael Almereyda on the script, the scenes of Tom Farrell (Paris, Texas, and Lightning Over Water), and that in the end the film is Solveig Dommartin's and his story.

Jeanne Moreau (Edith
See full article at »

In a Lonely Place: On Wim Wenders’ Road Movie Trilogy

In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”

But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.

See full article at The Film Stage »

Werner Herzog: A Guide For The Perplexed

Of the Big Three new wavers of German cinema—Rainer Werner Fassbinder, Werner Herzog and Wim Wenders-- who “came of age” as it were in the ‘70s, when I was in college and my own stake in the movies was budding into something more learned and substantial than what it was when I first discovered my love for them, Herzog has emerged as the director who most speaks to me now as an adult. I think that’s true at least in part because when his movies do speak to me it never feels like a one-sided conversation. I feel like I’m in there engaging in a push-pull with Herzog’s ability to seduce me (disarm me?) with his simplicity of approach, an ability which rarely seems satisfied to consider subjects from the less-perverse of two perspectives, and his tendency to rhapsodize and harangue and sidestep visual motifs
See full article at Trailers from Hell »

NYC Weekend Watch: Vittorio de Sica, ‘Chocolat,’ ‘Carlito’s Way,’ ‘Notorious’ & More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

The Film Society at Lincoln Center

A new 35mm print of Claire Denis‘ debut, Chocolat, screens throughout the week.

Film Forum

For a Vittorio de Sica retrospective, see The Bicycle Thief on Friday, Miracle in Milan on Saturday and Sunday, and Mister Max & Marriage Italian Style on Sunday.

A new restoration of Otto Preminger‘s
See full article at The Film Stage »

Movie Poster of the Week: Wim Wenders by Guy Peellaert

  • MUBI
Above: French poster for Paris, Texas (Wim Wenders, West Germany/USA, 1984). 

Best known in the Us for his 1976 poster for Taxi Driver, his controversial cover for Diamond Dogs and his lavish 1974 coffee table book reverie Rocks Dreams, the Belgian artist Guy Peellaert (1934-2008) also had a very fruitful association in the 1980s with German director Wim Wenders. I wrote about Peellert in Film Comment a couple of years ago, but the occasion of the upcoming Wenders retrospective at the Museum of Modern Art in New York seems a good excuse to gather together all the Peellaert-Wenders collaborations.

Between 1980 and 1987 Peellaert painted six posters for the French releases of five of Wenders’ films: from the Nicholas Ray documentary Lightning Over Water to Wenders’ magnum opus Wings of Desire. Wenders, an aficionado of American rock ’n’ roll (one of his first short films was called 3 American LPs), was no doubt a fan
See full article at MUBI »

Wim Wenders Says Criterion Plans To Release More Of His Films; Big Moma Retrospective Coming March 2015

In a eclectic career spanning four decades, German auteur Wim Wenders has done it all: won the Palme D’or (“Paris, Texas”), created classic existentialist dramas (“Wings of Desires,” “The American Friend”), adopted digital filmmaking earlier than most (1991’s “Until the End of the World”), spawned multi-million selling albums from his music documentaries (“Buena Vista Social Club”), created an ahead-of-its-time 3D Dance documentary ("Piña"), and has celebrated some of the greatest auteurs in cinema through various documentaries and films ("Toyko Ga" about Yasujirō Ozu; "Lightning Over Water" about the final days of Nicholas Ray; the Cannes documentary "Room 666"; and helping the stroke-impaired Michelangelo Antonioni direct his final film “Beyond The Clouds”). Wenders’ latest film "The Salt Of The Earth" (co-directed with Juliano Ribeiro Salgado) is a celebration of the gorgeous and haunting black and white works by...
See full article at The Playlist »

The Essentials: 5 Great Films By Nicholas Ray

While adored by the French and the Cahiers Du Cinema coterie that went on to become the rebellious French New Wave -- which spawned the oft-quoted Jean-Luc Godard phrase "cinema is Nicholas Ray" -- the American filmmaker never really received his due outside of the one film of his that most moviegoers have seen (and even then, they’re possibly unaware that he directed it): “Rebel Without A Cause.” And while that iconic 1950s film, with its audacious, expressionistic colors, its passionate angst and anguish, its mix of quiet machismo and vulnerability, is perhaps the cornerstone of many of Nicholas Ray’s films -- vibrant melodrama on the surface, percolating emotional agony within -- it’s certainly just the tip of iceberg when it comes to the director’s career.

Starting out as a would-be actor, Ray moved to moved to New York where he appeared in the great Elia Kazan's theater debut.
See full article at The Playlist »

Why Nicholas Ray is in a class of his own

Where does a maverick film-maker such as Nicholas Ray go after directing Rebel Without a Cause? Back to school, says Geoffrey Macnab

Nicholas Ray wasn't the sort of film-maker ever to go quietly into retirement. The maverick director behind Rebel Without a Cause, Johnny Guitar and Bigger Than Life possessed a notoriously cussed temperament and, despite being one of Hollywood's best-paid directors in the 1950s, was perennially broke. Dogged by financial and health problems until his death in 1979, the last few years of his life were especially turbulent. Nonetheless, as a world premiere of the restored version of his experimental film, We Can't Go Home Again, at the Venice film festival has made clear, the 1970s were far from a lost decade for Ray. In fact, amid the chaos, he undertook some of his most radical and adventurous work.

We Can't Go Home Again is just what you would expect
See full article at The Guardian - Film News »

Venice 2011. Nicholas Ray's "We Can't Go Home Again"

  • MUBI
A month ago today, an announcement appeared that had Twitter all aflutter: "On the occasion of the centennial of the birth of acclaimed film director and Hollywood legend Nicholas Ray (Galesville, 7 August 1911 - New York, 16 June 1979), the Venice Film Festival announces the world premiere screening on Sunday 4 September at the Lido of the restored/reconstructed copy of We Can't Go Home Again, the definitive version that is faithful to the original idea of Ray's posthumous masterpiece." A panel followed yesterday's screening, "with the participation of American director and actor James Franco and Spanish director Victor Erice, author with Jos Oliver of the book Nicholas Ray y su tiempo (Madrid, 1986). Also invited at the panel are the acclaimed visual artist and filmmaker Douglas Gordon, and Henry Hopper — the son of Dennis Hopper, who starred in Rebel Without a Cause (1955) and accompanied Nicholas Ray in several of his subsequent artistic endeavors. Henry Hopper
See full article at MUBI »

Final Film From Nicholas Ray To Be Released; Documentary Also Forthcoming

  • The Film Stage
THR has the exciting news that Oscilloscope will release We Can’t Go Home Again, a movie from the influential, late director Nicholas Ray. Originally shot in the early ’70s, this documentary follows Ray as he teaches “filmmaking to a novice crew” — who were his students at Suny Binghamton — which he did during the making of a feature. Its premiere was held at the Cannes Film Festival in 1973, although he kept shooting additional parts and editing the whole thing up to his death in 1979. This late release more or less makes it his final film, an honor previously held by Lightning Over Water, a documentary he co-directed with Wim Wenders. An appearance at Venice and Nyff is expected, with a general opening set for this fall.

Also coming to us from Oscilloscope in the near future is a documentary on Ray, titled Don’t Expect Too Much. Directed by his wife,
See full article at The Film Stage »

See also

Showtimes | External Sites