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Nicholas Ray 22 Per CINE CLUB SABADELL c u i c m ^ NICHOLAS RAY l'acabar els seus estudis, treballa com amb que quelcom sigui més vertader o actor i també com director amb l'ajut més documentai. El gust d'algù pot del seu amie Elia Kazan, del qual decantar-se pel blanc i negre, sospito n'interpreta la seva primera obra el però que és un gust en certa manera 1.935 "The young go first", amb el snob. "Group Theatre" de New York (el teatre oficial d'esquerres segons Welles). Després d'un llarg viatge per tal de prendre contacte i conèixer el folklore autocton principalment per les Muntan- yes Rocoses del seu país, reprén la seva activitat teatral a la companyia "The Phoenix", dirigida per John Houseman. El 1.941 es converteix en director del programa radiofonie de la US Office of War Information, quan el cap de programado deis servéis estrangers és Houseman. El 1943 hi escriu i realitza la sèrie "Banck where and come from" que obté gran popularitat. Munta també obres teatrals a Broadway debutant Nicholas Ray amb "Lute song". El 1944 és ajudant de direcció d'Elia Kazan a "A tree grows in Brooklyn". Per la CBS adapta I'obra radiofònica "Sorry, wrong number" el 1946. L'èxit d'aquesta emissió li serveix Hi havia el teatre (Griffith), la poesia per a rodar el seu primer film a Holly­ (Murnau), la pintura (Rossellini), la wood el 1947. dansa (Eisenstein), la mùsica (Renoir). "Rebelde sin causa" Però des d'ara hi ha tambe' el cinema. I I'M A STRANGER HERE MYSELF amb James Dean i NataUe Wood el cinema e's Nicholas Ray. Jean-Luc Godard a "Cachiers du cine­ Tine idees personals sobre la valor ma" n° 79, gener 1.958 psicològica del color. No només cree Raymond Nicholas Kienzle neix a La que es poden millorar alguns aspectes Cree que la meva predilecció per la Crosse, Wisconsin, el 7 d'agost de d'una história sino que fins i tot, es pot linia horitzontal (l'scope) ve de la 1.911. Nen superdotat, sobretot per les donar importáncia a unes escenes que col.laboradó amb Frank Lloyd Wright i arts. Interessai pel teatre i la mùsica. volguem que la tinguin. m'agrada composar dins d'un marc Cursa estudis d'arquitectura a l'Univer- A REBEL WITHOUT A CAUSE horitzontal. El principi estètic de Wright sitat de Chicago, a l'obtenir una beca Natalie i Jim s'agenollen sobre Sal i que s'ha convertit en part molt impor­ per una sèrie d'émissions radiofòniques s'adonen per primera vegada que duu tant del meu pensament arquitectônic que escriu als 16 anys. Durant un any un mitjó blau i un altre vermeil. Això era: "Intenta conèixer primer les teves és alumne de l'arquitecte Frank Lloyd ajuda d'una forma externa a dir que limitacions i hauràs de treballar amb Wright. havia tingut un dia molt embolicat, que elles, i després sabrás com aprofi- Els seus orígens artístics, com els de s'havia llevat confús. tar-te'n". Object!vament mirât, la pan­ la majoria dels de la seva generado, cal L'ùnica raó pel cinema en blanc i talla ampia té certes limitacions. Però buscar-los al teatre. Pels anys trenta, a negre és l'economia. No té res a veure intento treballar dins d'aquestes limita- 23 cions i m'hi trobo molt bé. zej Wajda i de nou a América té molts No vaig emprar la pantalla ampia a projectes que no es convertirán mai en WIND ACROSS THE EVERGLADES realitat. perqué hauria estât una contradicció El 1971 roda WE CAN'T GO HOME amb l'ambient. Ho faria així altra AGAIN amb joves de la Universität de vegada si bagués de rodar una pel.lícula New York. Film que diu està en la en una selva o a Wall Street, o on l'al­ mateixa dialéctica de REBEL WITHOUT tura dels edificis tingués un paper A CAUSE. Analitza la situació d'una important. familia en un moment molt determinai Que els primers metres que roda un de la societat americana. El 1973 realit- cineasta defineixen la seva obra poste­ za un scheeck de WET DREAMS rior, és quelcom que s'ha dit moites (Sueños húmedos) i darrerament codiri- vegades. No descobrim res de nou. gia amb Wim Wenders "LIGHTNING Tampoc descobrim res de nou si OVER WATER. afirmefn que el primer film de Ray Nicholas Ray mort el dia 17 de Juny THEY LIVE BY NIGHT (Los amantes de 1979. de la noche, 1948), és una de les seves millors pel.lícules. Allí veiem per prime­ ra vegada constants de l'obra de l'autor de REBEL WITHOUT A CAUSE. Cons­ tants temàtiques: la violència, la qual segons Ray és en cada u de nosaltres en potencia i que la mostra intentant subratllar els seus aspectes nocius, ja que és sempre negativa; la rebel.lia de l'adolescència en front d'un medi créât pels seus pares i/o d'uns ideals i valors que no els serveixen; la búsqueda de la puresa, que sovint ja sigui per la violèn­ cia O per la rebel.lia, condueix a la des- trucció. Constants narratives: sempre sabem exactament l'ordre temporal de les situacions. Eli mateix diu que és molt important saber el dia i l'hora en que passa Tacciò, que és necessari que "55 Días en Pekín" Tespectador ho sàpiga, malgrat no s'es- amb Ava Gardner menti per res en el diàlec; la nocturni- tat, ja sigui en els films en blanc i negre O en els films en color, els seus efectes en el cinema de Ray són sempre els que va fer que altrienrodés alguna seqüència. mateixos. Nocturnitat, no foscor, que "Bigger than life" serveix no per traduir situacions romàn- Tot i aixô compta amb grans obres amb Barbara Rush i James Mason tiques O manifestacions de violència llegendàries: THEY LIVE BY NIGHT, corn existeix en certs films pretesament JOHNNY GUITAR (Johnny Guitar, de sèrie negra per tal d'amagar alguna 1954), REBEL WITHOUT A CAUSE cosa o algú, sinó per a donar un incon­ (Rebelde sin causa, 1955), BIGGER fundible clima Ray d'una intensitat THAN LIFE (Más poderoso que la vida, lírica excepcional. Si junt amb aquesta titol de Temissió televisiva el 1974) i nocturnitat i afegim una altra constant, PERTY GIRL (Chicago, año 30, 1958), la mirada, i no sois la física, bellísima malgrat que no fou fins passais els sens dubte ja a THEY LIVE BY NIGHT, cinquantes quan Ray assoli el prestigi sinó també com a interpretació moral que obtinguèren, tardanament, Ford, d'una manera de viure, tenim les esce- Hitchcock, Hawks... nes més belles del cinema, i que inate- Després de FIFTY-FIVE DAYS AT rialitzen un estât animic amb una preci- PEKING (55 días en Pekín 1963) deixa siô impecable. la regular producció cinematogràfica al Altrement la seva filmografia és no poder realitzar el que ell volia fer curulla de contratemps des dels seus d'una manera Iliure. Treballa a Europa, films d'encàrrec primerencs fins als a lugoslàvia amb un film politic que no produits per Samuel Bronston que els acaba. Intenta formar la Unió d'Artistes trosejà corn va voler, passant per altres Europeus. Fa el muntatge de la versió irregularitats, entre elles alguna malaltia internacional de "Popioly", film d'andr- Hifi Regals Es una gentilesa de n » DRUnCT Foto-Cinema Mobles cuina Rambla, 109 csnriic comcnciAi.
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  • Cinefiles Document #35917
    Document Citation Title The cinema is Nicholas Ray Author(s) James Quandt Source Cinematheque Ontario/a division of Toronto International Film Festival Group Date 2003 Feb 07 Type program note Language English Pagination 26-33 No. of Pages 7 Subjects Ray, Nicholas (1911-1979), Galesville, WI, United States Film Subjects The true story of Jesse James, Ray, Nicholas, 1957 Run for cover, Ray, Nicholas, 1955 Party girl, Ray, Nicholas, 1958 Born to be bad, Ray, Nicholas, 1950 Flying leathernecks, Ray, Nicholas, 1951 Knock on any door, Ray, Nicholas, 1949 A woman's secret, Ray, Nicholas, 1949 The savage innocents, Ray, Nicholas, 1960 The lusty men, Ray, Nicholas, 1952 I'm a stranger here myself, Helpern, David, 1974 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) In a lonely place, Ray, Nicholas, 1950 King of kings, Ray, Nicholas, 1961 Wind across the Everglades, Ray, Nicholas, 1958 They live by night, Ray, Nicholas, 1949 Rebel without a cause, Ray, Nicholas, 1955 Bigger than life, Ray, Nicholas, 1956 We can't go home again, Ray, Nicholas, 1973 Hot blood, Ray, Nicholas, 1956 High green wall, Ray, Nicholas, 1954 55 days at Peking, Ray, Nicholas, 1963 Bitter victory, Ray, Nicholas, 1957 Lightning over water, Ray, Nicholas, 1979 Der Amerikanische freund (The American friend), Wenders, Wim, 1977 Johnny Guitar, Ray, Nicholas, 1954 On dangerous ground, Ray, Nicholas, 1951 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S.
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