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Topic: Nicholas Ray

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	sfbg.com \| A and E
		Just as Ray's melodramas invert the genre, this is a noir in which the femme fatale (Grahame, whose arched eyebrows add irony to her nuanced line readings) doesn't die and isn't evil.
		Ray's hostility toward the cheap novels he'd adapted, and his paranoia – he was a tape-recording buddy of Howard Hughes, yet also the nonsnitch flip side of another pal, Elia Kazan, during the McCarthy era – seethe within screenwriter Dixon Steele (Bogart).
		Ray had traded the action of his Hollywood peak for experimental pursuits, and his self-mythologizing had grown nostalgic; the movie's best scenes are excerpts from his earlier work.
	www.sfbg.com /37/33/art_ray.html (1100 words)

	The Films of Nicholas Ray
		Ray is always offering interesting perspectives from one room to another.
		This lack of motion is treated by Ray as an evil quality, a lack of the vital energy and purposeful activity shown by the good characters.
		Ray's rooms always seem to be strictly rectangular.
	members.aol.com /MG4273/nicholas.htm (2238 words)

	Guardian Unlimited Film \| Features \| The poet of nightfall
		A Nicholas Ray season followed at the National Film Theatre, and it was a battleground for different attitudes.
		Ray was a wreck, a great warning about what the movies can do to idealism - but seven great movies are justification for all the trouble he spread around.
		The Nicholas Ray season is at the National Film Theatre, London SE1, for the whole of January.
	film.guardian.co.uk /features/featurepages/0,4120,1112652,00.html (1628 words)

	New York State Writers Institute - Johnny Guitar Film Notes (Site not responding. Last check: 2007-11-05)
		Nicholas Ray was one of the few undiluted Romantics in all of American cinema.
		Ray's camera cooperates with the film's scene designers and screenwriter Philip Yordan to craft arias of prideful nonconformity by Vienna, duets of simultaneous repulsion and longing between Vienna and Johnny, and recitatifs of vengeance by Emma, the thin-lipped, hyper-masculine leader of the town's death squad.
		Ray was attending a retrospective of his films in Paris in May, 1968, when an announcement came that students and workers had taken to the barricades to occupy the city in a massive protest that would radically change continental politics and art.
	www.albany.edu /writers.inst/fns06n6.html (1010 words)

	I Was Interrupted: Nicholas Ray on Making Movies. - book reviews Historical Journal of Film, Radio and Television - ... (Site not responding. Last check: 2007-11-05)
		Ray was unlike any other human being I ever knew, a charismatic man who seemed to have arrived only moments ago from an alien world that far surpassed ours in awareness.
		Intelligently assembled by his former wife, Susan Ray, who contributes an introductory essay, the book is a thought-provoking collection of Ray's interviews, lectures, private writings, and best of all, transcripts from his classes in acting and directing, most of which have never been published before.
		Nicholas Ray's life intersected with much of the experimentation and innovation of American twentieth century art.
	www.findarticles.com /p/articles/mi_m2584/is_n3_v14/ai_16424854 (908 words)

	Nicholas Ray - Films as Director:, Other Films:
		Nicholas Ray is cinema in the sense that his films work entirely (and perhaps only) as movies, arrangements of space and movement charged with dramatic tension.
		Ray's grounding in architecture (he studied at Taliesin with Frank Lloyd Wright) reveals itself in an exceptionally acute sense of space, often deployed as an extension of states of mind.
		Nearly all Ray's finest films were made in the 1950s, their agonized romanticism cutting across the grain of that decade's brittle optimism.
	www.filmreference.com /Directors-Pe-Ri/Ray-Nicholas.html (1312 words)

	Nicholas Ray - Wikipedia, the free encyclopedia
		Nicholas Ray (born Raymond Nicholas Kienzle) (August 7, 1911–June 16, 1979) was an American film director.
		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.
		Nicholas Ray’s immense influence on a younger generation of directors cannot be overstated.
	en.wikipedia.org /wiki/Nicholas_Ray (771 words)

	Nicholas Ray: A Bibliography of Materials in the UC Berkeley Libraries
		A record of the last months of Nicholas Ray's life, when he was hoping to revive his career while visibly dying from cancer.
		Review of Nicholas Ray's life and career, esp. in relation to his nomadic lifestyle and interest in folk movements; argues that the French critics of the 1960's misread his films, esp. referring to "Johnny Guitar".
		The film was directed by Nicholas Ray and stars Humphrey Bogart and Gloria Grahame; the screenplay by Andrew Solt is based on a novel by Dorothy B. Hughes, but is totally different from the novel in plot, characterization, and resolution.
	www.lib.berkeley.edu /MRC/nickray.html (2763 words)

	MoMA.org \| 2003 Film and Media Exhibitions \| Nicholas Ray, Writ Large (Site not responding. Last check: 2007-11-05)
		Ray’s sense of locale is typically vivid, from the world of Swedish immigrant farmers to the actual native ruins that give the final confrontation its fateful geometry” (James Quandt).
		Ray inscribed the stifling world of 1950s conformity and the inchoate frustration and longing of adolescence through his symbolic, breathtaking use of color and the widescreen.
		Although Ray loathed the film, its shortcomings are overshadowed by Grahame’s gripping performance, the enveloping mood of sour cynicism, and the slickly noirish, low-key photography of first-timer George Diskant.
	www.moma.org /exhibitions/film_media/2003/nicholas_ray.html (1714 words)

	Nicholas Ray (Site not responding. Last check: 2007-11-05)
		Ray's careening camera served as an apt metaphor for the instability of an atomized urban existence.
		Ray's films had been largely taken for granted in his native country until the critics of Cahiers du Cinéma embarked upon a concerted process of deification.
		Ray's increasingly poor health limited his activities to several cameo appearances in films of other directors; he himself was the subject of his last directorial effort, in collaboration with Wim Wenders, LIGHTNING OVER WATER (1980), about the final months of Ray's battle with cancer.
	theoscarsite.com /whoswho3/ray_n.htm (730 words)

	village voice > film > 'Nicholas Ray, Writ Large' at MOMA Gramercy by Elliott Stein
		Ray was a poet of chaotic emotions; his most personal films are populated by alienated dreamers and transcend the limitations of genre.
		Nicholas Ray, divorced him, and went on to marry his son by a previous marriage, causing shock waves in fanzinedom.
		Ray's last two theatrical films were huge productions made in Spain: King of Kings (1961), for what it's worth, the best biblical epic ever made, and 55 Days at Peking (1963), which he left before completion, never to work in mainstream cinema again.
	www.villagevoice.com /film/0311,stein,42449,20.html (762 words)

	Nicholas Ray Biography :: Hollywood.com (Site not responding. Last check: 2007-11-05)
		Ray was already concentrating on disaffected loners--individuals who, by choice or fate, could not be integrated into society's mainstream.
		Concurrent with the spread of the Ray cult to the USA in the early 1960s, the director's output underwent a significant change, as he undertook two period epics, "King of Kings" (1961) and "55 Days at Peking" (1963).
		Ray's increasingly poor health limited his activities to several cameo appearances in films of other directors; he himself was the subject of his last directorial effort, in collaboration with Wim Wenders, "Lighting Over Water" (1980), about the final months of Ray's battle with cancer.
	www.hollywood.com /celebs/fulldetail/id/196318 (846 words)

	Nicholas Ray
		Ray can make a beautiful picture, so he knows he bears a burden of responsibility for the rest of it.
		“This is not a costume,” he tells the new hat check girl, but “the formal attire of a gentleman.” Ray frames the scene briefly, as he never does elsewhere, to settle the characters in a large booth.
		Ray’s meticulous handling of this film earned him no respect whatsoever from Halliwell’s Film Guide, and the remarks printed there are evidence rather of a deep disaffection with the cinema than of anything else.
	cmulrooney.tripod.com /raynicholas.html (1745 words)

	Ray Nicholas - Search Results - MSN Encarta
		Ray Nicholas - Search Results - MSN Encarta
		Regarded by many critics as the most original Hollywood director of the 1950s, Ray was born in...
		Dean, James (1931-1955), American actor of film, stage, and television, whose early death in a car accident contributed to his enduring legend.
	uk.encarta.msn.com /Ray_Nicholas.html (88 words)

	BAM : Brooklyn Academy of Music
		Ray rewrites history to make James one of his existential anti-heroes—a man dissatisfied with life after the horror of the Civil War, and unable to fit in anywhere.
		Ray’s bold use of color and shadows makes this into a vibrant Technicolor film noir, with one impressive setpiece after another.
		Almost a full-on musical (there are numerous impressive dance sequences), Ray examines a cast of outsiders by setting this tale among the ethnic minorities of gypsy clans.
	www.bam.org /film/series.aspx?id=24 (312 words)

	Metroactive Movies \| In a Lonely Place & Dangerous Ground
		Ray's origin in the theater is seen in the inexpensive but compact setting, which was based on the design of his own apartment when he first arrived from New York in lonely California.
		Ray's trick in this transformation was to make violence violent--in other words, to make Steele's rages not formally introduced with lighting, mood, music and foreshadowing but instead detonating out of nowhere, and with very little warning, as sudden, irreparable shocks.
		This statement sums up exactly Ray's best films from about 19491960, a series of bold, vivid works about repression, in which the characters' bids for freedom are accompanied by fury that's simultaneously justified and unjustifiable.
	www.metroactive.com /papers/metro/02.20.97/2movies-revival-9708.html (576 words)

	The New Yorker: The Critics: The Current Cinema
		Ray’s movies, which deal with everything from dancing Gypsies to a middle-class cortisone addict, teem with solitude; one staggers out of them with the dizzying suspicion that men and women are like planets and moons, each following a predestined curve, repeatedly tugged or slung away by the gravity of other bodies.
		Nicholas Ray (1911-79) was born Raymond Nicholas Kienzle, in Galesville, Wisconsin.
		Certainly, the sight of Robert Ryan, the veteran of three previous Rays, swapping his overcoat and fedora for the fetching sheepskin outfit of John the Baptist is less than spiritually convincing, and a more merciful God would have allowed him to disappear completely into his enormous beard.
	www.newyorker.com /critics/cinema/?030324crci_cinema (1165 words)

	The Homosocial Struggle Versus the Heterosexual "Home": The Dialectic of Desire in the Films of Nicholas Ray ... (Site not responding. Last check: 2007-11-05)
		Nicholas Ray's films frequently address a competition between a 'father' and 'son' (whether literal or figurative filial relationship).
		Ray's Bitter Victory (1958) is a good example of the Oedipal erotic triangle in practice.
		The fact that Ray (both director and policeman) has orchestrated the ending as such implies that this conclusion is "the right one".
	www.film.queensu.ca.cob-web.org:8888 /Critical/PhelanCox.html (3034 words)

	nicholas ray's king of kings (1961) - Arts and Faith
		As originally conceived by writer Philip Yordan and director Nicholas Ray, KING OF KINGS was a retelling of the life of Christ on a vast but human scale.
		THe Sermon on the Mount scene seems to have always been a key part of it for Ray ("Ray saw it as the linchpin of his film"), and there's a lengthy quote of him explaining why he wanted to film it as he did.
		The ending scenes Ray filmed saw Jesus farewelling on a mountan ad then on a Lake and the closing scene we have was shot after Ray had left the project.
	artsandfaith.com /index.php?showtopic=4661 (1896 words)

	Guardian Unlimited Film \| Features \| Nicholas Ray: Johnny Guitar
		It is difficult to describe what makes Johnny Guitar so fascinating, except to say that Ray's orchestration of Philip Yordan's almost literary screenplay gives a small budget film, made for Republic Studios, a kind of heady but clipped dignity which renders Truffaut's remark about a "hallucinatory Western" seem a good deal less daft than Godard's.
		It was made at a juncture in movie history when Westerns were attempting to rid themselves of the Hopalong Cassidy-Roy Rogers matinee image, and it's pretty sure that Ray used Crawford, who wanted to play up rather than down-market, because he was attracted to her, like Johnny to Vienna.
		But there is no doubt that Ray, always a maverick and finally a tragic, neglected figure surrounded by obsequious young acolytes and filmed on his death bed by Wim Wenders in the doubtfully intrusive but admiring Lightning Over Water, could make great films.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,37234,00.html (660 words)

	Gerald Peary - essays - Remembering Nicolas Ray
		The only time I met Nicholas Ray, the legendary filmmaker of Rebel Without a Cause and other cult classics (In a Lonely Place, Johnny Guitar), the mighty had mightily stumbled.
		A dreadful mistake: Ray had been fired off the movie, probably why, in answer, the ex-employed filmmaker, grimacing and shivering, clutched at his fl-eye-patched left eye as if suffering a lethal migraine.
		Ray, then 43, related strongest in life to youth on the fringe, outsiders lonely in the Hollywood crowd.
	www.geraldpeary.com /essays/pqr/rememberingnicholasray.html (483 words)

	[No title]
		Ray thought it was silly for him to be jealous about Stacy, whom he probably hadn't thought of in a good ten years.
		Ray had worked with him a lot and taught him, and the companionship of humans had proven that the ghost was capable of learning.
		Nicholas was with Ray and Winston, and Janine had gone back to mind the telephone when Peter and Egon came downstairs again.
	members.aol.com /eddieplummer/rgb/nicholas.htm (9576 words)

	Nicholas Ray Associates - Our Staff (Site not responding. Last check: 2007-11-05)
		Principal since 1989 of Nicholas Ray Associates, formerly partner at Hughes and Bicknell Architects, Cambridge.
		Nicholas Ray has practised in Cambridge since 1973.
		He has been particularly concerned with new buildings in conservation areas, and the adaptation of historic buildings.
	www.nray-arch.co.uk /staff/staff.htm (149 words)

	Nicholas Ray
		That Nicholas Ray's professional name was derived from an inversion of his first two surnames sounds fitting for a filmmaking career that proceeded backwards by conventional standards, beginning in relative conformity and ending in rebellious independence.
		After writing and producing radio programs in his teens, Ray was invited by Frank Lloyd Wright to join his newly created and utopian Taliesin Fellowship in 1931-an encounter that lasted only a few months but which yielded a respect for the horizontal line that was central to Ray's subsequent affinity for CinemaScope.
		Indeed, by the time Ray burned most of his bridges in Hollywood while veering in the direction of cosmic international parables (including Bitter Victory and The Savage Innocents, two of his finest and most affecting films), he was arguably beginning to value gestures of a certain defiant and personal nature over practically anything else.
	www.sensesofcinema.com /contents/directors/02/raynick.html (1366 words)

	Johnny Guitar (1954) : Directed by Nicholas Ray, reviewed by Nick Burton (Site not responding. Last check: 2007-11-05)
		To say Nicholas Ray’s 1954 Western Johnny Guitar is an unconventional addition to the genre is an understatement.
		It may be the weirdest Western ever made in this country, a veritable opera of repressed sexuality, and, accepting its cult reputation, a thinly veiled assault on the Inquisition mentality of Senator Joseph McCarthy and HUAC (the House Un-American Activities Committee).
		The film stars a extremely mannish, drag-queen-looking Joan Crawford as Vienna, a tough-as-nails saloon owner who is waiting for the coming railroad to reach her deserted saloon so she can build her dream depot and cash in.
	www.pifmagazine.com /vol23/v_Johnny_Guitar.shtml (693 words)

	Lie to me. Tell me all these years you've waited... \| MetaFilter (Site not responding. Last check: 2007-11-05)
		Like Jacques Tati and Samuel Fuller, Ray did a lot of living before he ever got around to filmmaking: he was of part of Frank Lloyd Wright's Taliesin Fellowship, a devotee of southern folk music, an avant-garde theatre director.
		Ray, of course, was so in love with cinema that even his dying became a movie -- Wim Wenders' heartbreaking Lightning Over Water
		All of Ray can be boiled down to a single word from “In a Lonely Place.” Humphrey Bogart plays a Hollywood screenwriter who is suspected of killing a hat-check girl.
	www.metafilter.com /mefi/33793 (1155 words)

	Nicholas Ray - Channel 4 Film feature
		Born in 1911 in Wisconsin, Ray quickly gradated from working in theatre to direct some of the most intense, psychologically insightful films of the 50s including In A Lonely Place with Humphrey Bogart, Bigger Than Life with James Mason and his most famous film, Rebel Without A Cause with James Dean.
		Time and again Ray mastered the art of using genre to attract finance (and an audience) and then subverting the genre to make films that combined great stories, incisive social commentary and an unforgettable emotional punch.
		Deeply ambivalent about the American dream, Ray saw the combined wealth and conservatism of post war America as having a soul-destroying and politically emasculating effect on the population.
	www.channel4.com /film/reviews/feature.jsp?id=127038 (212 words)

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