We Can’t Go Home Again (1976)
Nicholas Ray
English
Nicholas Ray’s We Can’t Go Home Again, ostensibly the director’s most personal and complex film, was made by the director and his students during his stint as a film professor at State University of New York, Binghamton, under abysmal financial conditions (which is also what the film is about). Ray kept editing the film for almost a decade and the final version never saw the light of the day. The second cut, which dates to 1976, is as far from the studio pictures made by the filmmaker as it can be. We are far from the eye-popping days of ultra-widescreen, for one, with its 4:3 ratio. Instead of the frame becoming an infinite canvas in front of us, it keeps diminishing, sharing screen space with a bunch of similar frames. (The film was shot on a number of formats, projected on a single screen, which was then recorded on 35mm). This splintering of the visual field, the generally pathetic sound and the entire filming method highly befits both the ideological fragmentation of Ray’s radicalized students and the progressive mental and physical breakdown of Ray himself (who appears to play a slightly fictionalized version of himself). This sharing of screen space by multiple smaller frames, like a cubist painting, seems to suggest the amorphous worldview of the misguided youngsters – types from an era – who see the equally vacillating Ray as some sort of secondary father figure, one away from home. The one-eyed Ray, as if throwing light on the politics of his films, seemingly advises them, without condescension, that no ideological position must blind them of the human elements that make up the system, that an eye for an eye makes the whole world blind.
July 18, 2011 at 7:58 am
Most interesting Srikanth! Well, I will confess here that I have NOT seen this film school work, though it does appear that it’s a vital one to check out. I have no reason to question your declaration that it’s Ray’s most personal and complex work, and I am reminded of Charles Burnett’s KILLER OF SHEEP in this sense.
Of course I love Ray (who doesn’t?) and films like IN A LONELY PLACE, ON DANGEROUS GROUND, BIGGER THAN LIFE and others stand among the finest works of American cinema.
Beautiful unearthing here!
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July 22, 2011 at 5:47 pm
Thank you, Sam. This is an essential work, presenting Ray directly, without the refractions of studio cinema.
True that.
Thanks and cheers!
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September 17, 2011 at 2:51 pm
[…] – becomes the (dis)organizing principle of the film. Multiple sub-frames (recalling Nick Ray’s cherished avant-garde film), graphic overlaps and abrupt colour shifts on the visual front are complemented by a thoroughly […]
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