Nicholas Ray
From Wikipedia, the free encyclopedia
 Nicholas Ray in The American Friend |
|
| Born: | 7 August 1911 Galesville, Wisconsin, USA |
|---|---|
| Died: | 16 June 1979 New York City, NY, USA |
| Occupation: | Film director |
Nicholas Ray (born Raymond Nicholas Kienzle) (August 7, 1911–June 16, 1979) was an American film director.
Coming from a radio background, Ray directed his first and only Broadway production, the Duke Ellington musical Beggar's Holiday, in 1946. One year later, he directed his first film, They Live By Night. It was released two years later due to the chaotic conditions surrounding Howard Hughes' takeover of RKO Pictures. An almost impressionistic, tender take on film noir, it was notable for its extreme empathy for society’s young outsiders (a recurring motif in Ray’s films). It was influential in the sporadically popular sub-genre often called “love on the run” movies, concerning as it does two young fugitive lovers on the run from the law. (Other examples are Gun Crazy, Bonnie and Clyde, Badlands, and Robert Altman’s 70’s remake of They Live By Night, Thieves Like Us.)
Ray made several more contributions to the film noir genre, most notably the Humphrey Bogart movie In A Lonely Place about a troubled screenwriter, and On Dangerous Ground, a powerful police thriller. The former is noted for featuring one of Bogart’s most complex performances.
Other minor film noirs he directed in this period were Born to Be Bad and A Woman’s Secret.
Ray's most productive and successful period was the 1950s, although his sympathy for society's outsiders and rebels clearly predated the 1960s counterculture. It was in the mid 50s that he made the two films he is best remembered for. 1954’s Johnny Guitar was an influential, proto-feminist western much loved by French critics (François Truffaut called it "the beauty and the beast" of the western). In 1955, however, Ray directed the iconic Rebel Without a Cause. Its legendary status had much to do with its star James Dean, whose premature death followed soon after the film’s completion. Looking past its main attraction these days as a vehicle for the poster boy of a generation, Rebel Without a Cause distilled much of the essence of Ray’s cinematic vision: expressionistic use of colour, dramatic use of architecture and an empathy for those who struggle to fit in to mainstream society. (It has often been noted that Ray’s virtuoso use of architecture was perhaps influenced by his early studies as an architecture student under Frank Lloyd Wright.)
Ray’s expressionistic use of framing and colour arguably reached its apogee in his 1956 melodrama Bigger Than Life starring James Mason as a small town school teacher driven insane by the effects of new wonder-drug Cortisone. Like Rebel Without A Cause before it, it can be seen a savage indictment of the materialistic values of 1950s American suburbia.
Alongside these acclaimed, influential works Ray also made many other films in multiple genres which, although made with professionalism and flair, were comparatively minor works, often suffering from unwanted studio interference. These ‘flawed’ but fascinating films would include Hot Blood, Party Girl and The Savage Innocents.
A bisexual and heavy user of drugs and alcohol, Ray found himself increasingly shut out of the Hollywood film industry in the early 1960s. After collapsing on the set of 55 Days at Peking (1963), he would not direct again until the mid-1970s. From 1971 to 1973, Ray taught filmmaking at Harpur College (part of the State University of New York at Binghamton) where he and his students produced We Can't Go Home Again, an ambitious autobiographical film employing split-screen images. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. Shortly before his death he collaborated on the direction of Lightning Over Water (also known as Nick’s Film) with German director Wim Wenders. He died of lung cancer on June 16, 1979 at the age of 67 in New York City, New York.
Nicholas Ray’s immense influence on a younger generation of directors cannot be overstated. Certain French New Wave directors and critics (most notably Jean-Luc Godard) held Ray in high regard. Wim Wenders' films are indebted to Ray, from the casting of Rebel Without a Cause's Dennis Hopper and the expressionistic use of colour in his own film The American Friend, to the title of sci-fi film Until The End of the World (which were the last spoken words in Ray’s biblical epic King of Kings).
A film about Ray, Interrupted, has been announced for 2007, to be directed by Philip Kaufman.
[edit] Selected filmography
- Knock on Any Door (1949)
- A Woman's Secret (1949)
- They Live by Night (1949)
- In a Lonely Place (1950)
- On Dangerous Ground (1951)
- Born To Be Bad (1949)
- Flying Leathernecks (1951)
- The Lusty Men (1952)
- Macao (1952) (uncredited)
- Johnny Guitar (1954)
- Rebel Without a Cause (1955)
- Bigger Than Life (1956)
- Amère Victoire [Bitter Victory] (1957)
- Party Girl (1958)
- The Savage Innocents (1960)
- King of Kings (1961)
- 55 Days at Peking (1963)
[edit] References
- Eisenschitz, Bernard : Nicholas Ray: An American Journey. Faber & Faber, 1993. ISBN 0-571-14086-6
- Frascella, Lawrence and Weisel, Al : Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause. Touchstone, 2005. ISBN 0-7432-6082-1
