{"id":3747,"date":"2011-10-31T07:52:58","date_gmt":"2011-10-31T11:52:58","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=2532"},"modified":"2011-10-31T07:52:58","modified_gmt":"2011-10-31T11:52:58","slug":"nicholas-ray-part-i","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3747","title":{"rendered":"Nicholas Ray: Part I"},"content":{"rendered":"<p><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/10\/WeCantGoHomeAgain.gif\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-2535\" title=\"WeCantGoHomeAgain\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/10\/WeCantGoHomeAgain.gif\" alt=\"\" width=\"120\" height=\"168\" \/><\/a>Just uploaded is a review of <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/v2z\/3935_WeCantGoHomeAgain.htm\">We Can\u2019t Go Home Again<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=3736\">M<\/a>]\u00a0(1976), Nicholas Ray\u2019s almost mythic  experimental film which finally gets wide commercial distribution (read: no  more bootlegs) via Oscilloscope Pictures after its premiere in 1973.<\/p>\n<p>Never finished and a work-in-progress until his death in  1979, bits of the film were glimpsed in a rare making-of doc shot in 1975 \u2013 <strong>I\u2019m a Stranger Here Myself<\/strong> \u2013 and Wim  Wenders\u2019 odd collaboration with Ray in 1979, <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/j2l\/2290_LightningOverWater.htm\">Lightning  Over Water<\/a> <\/strong>(1980).<\/p>\n<p>The big question, not unlike the opportunity to see one of  Orson Welles\u2019 legendary unfinished films, is whether WCGHA is the experimental  masterpiece some critics are expecting. It\u2019s affect on audiences will be  subjectively broad.<\/p>\n<p>Three people walked out of Sunday\u2019s screening at the TIFF  Bell Lightbox &#8211; Perhaps they were probably expecting a \u2018strikingly photographed\u2019  drama with teens? &#8211; and the director\u2019s widow, Susan Ray, was particularly  interested in knowing people\u2019s reactions, although few felt comfortable voicing  their opinions, or were still trying to process the radical clash between Ray\u2019s  Hollywood films \u2013 <strong>In a Lonely Place <\/strong>(1950), <strong>Rebel Without a Cause <\/strong>(1955), <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/j2l\/2339_KingOfKings1961.htm\">King of  Kings<\/a><\/strong> (1961) \u2013 and this impenetrable 90 minute work that\u2019s unofficially  the crown jewel in what\u2019s being billed as Nicholas Ray\u2019s Centenary.<\/p>\n<p>Those who did express their opinion \u2013 in the post-film  Q&amp;A or in a private moment with Susan Ray \u2013 were generally impressed, and a  few were deeply moved, finding it captured the aura of being a young adult in  the early seventies before life and its shocks pushed people away from the  values that once defined their ideals.<\/p>\n<p>I\u2019ve uploaded a review and will shortly post additional  comments about the Q&amp;A, plus some audio of questions I posed to Ray.<\/p>\n<p>Coming shortly: a review of Susan Ray\u2019s making-of  documentary, <strong>Don\u2019t Expect Too Much<\/strong> (2011) which screened this past Saturday in the first part of the TBL&#8217;s Nicholas Ray retrospective <a href=\"http:\/\/tiff.net\/filmsandschedules\/tiffbelllightbox\/2011\/4400000108\" >Hollywood Classics: The Cinema is Nicholas Ray<\/a>.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><strong>Mark R. Hasan<\/strong>,  Editor<br \/>\n<strong>KQEK.com <\/strong>(  <a href=\"http:\/\/www.kqek.com\/Main_Index_Page.htm\">Main Site<\/a> \/ <a href=\"http:\/\/www.kqek.com\/mobile\/index.php\">Mobile Site<\/a> )<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Film review of Nicholas Ray&#8217;s long unfinished and rarely seen experimental film, We Can&#8217;t Go Home Again (1976), recently restored and screened at the TIFF Bell Lightbox.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[814,815,658,847],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-Yr","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3747"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3747"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3747\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3747"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3747"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3747"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}