Nicholas Ray - Knowledge

2881:, having been Ray's teaching assistant at NYU, has spoken on several occasions of the lessons he's learned, citing two in particular. Comparing making a film to assembling a "string of beads," Ray urged the aspiring filmmaker when shooting one scene not to think of any of the other "beads." With this principle, Jarmusch learned the value of shooting out of sequence and of shooting a film's final scene last, a recommendation he remembers receiving from both Ray and Fuller. Ray also told Jarmusch that he gave actors notes separately, reasoning that each actor brings individual thoughts and ideas to a scene. Jarmusch, however, also allowed that, in working with actors, Ray would use "psychological games" and other manipulative tactics, "...things that I personally would never do." From Ray's work, Jarmusch claims that he learned to be attentive to everything that's seen in a film, while also cautioning, "I never would ever compare myself in any way to Nick...." More broadly, Jarmusch cited Ray's personal impact, affirming, “He gave me a sense of myself, in a way.” Jarmusch's first feature, 2090:, who had already impressed Ray when he had seen the writer in La Crosse. Ray had improved his record and was eligible to transfer in Fall 1931. He was pledged to a fraternity and played some football, but by his own account he was more committed to the elements of college life that included drinking and pursuing college girls. As well, he later recounted a homosexual experience, when he was approached by the university's Director of Drama, Frank Hurburt O'Hara (whom Ray does not name), reflecting that his own attitude, more tolerant than usual at that time, "became very helpful to me in understanding and directing some of the actors with whom I've worked." Ray spent only one quarter at the University of Chicago, and returned to La Crosse in December, resuming enrolment at Teachers College in autumn 1932, where he announced to readers of the school paper that he was "apparently free of amorous entanglements," but also, "I have been known to like a party." That same year, he and his friend Clarence Hiskey also agitated to start a chapter of the US Communist Party. 2567:, might have been seen as consistent with the avant-garde approaches to filmmaking that the department represented. As well, however, he and Jacobs were both, in the recollection of one student, "extremely strong-willed individuals, with tempers," and they came into conflict, in Gottheim's view, involving "a need for control and loyalty," especially from their students. There were other points of contention, however, including the monopolization and abuse of the department's filmmaking equipment by Ray's project and student crew, as well as Ray's drug and alcohol habits and his students' emulation of him. As department chair, Gottheim had mediated the friction between his colleagues, but in spring 1973 Jacobs became acting chair, escalating the conflict; shortly thereafter, Ray's contract was not renewed. Jacobs would later characterize hiring Ray as a "calamitous error." 2425:, a German island in the North Sea. He had reacquainted himself with younger son Tim, then at Cambridge, and enlisted him to help with an autobiography — the elder Ray would record his recollections, and the younger would transcribe — for which a publisher had provided an advance, though no such memoir appeared in Nick Ray's lifetime. Wherever he went, his friends and acquaintances were accustomed to Ray cadging a handout. "Periodically he stopped drinking," writes Bernard Eisenschitz, "switching to a diet of black coffee, going through stretches without sleep, then crashing for forty-eight hours at a time." Retrospectives of his films were marking the growth in his reputation, especially outside the US, including a double bill of 2578:, in May 1973. Leaving Binghamton, followed by a few students who drove the film's elements across country in a driveaway car, he travelled wherever he might find cheap or free editing facilities, money to continue the project, and friends who would tolerate him as a guest. He started in Los Angeles, where he wound up back in Bungalow 2 at the Chateau Marmont, running up bills and seeking investment from his old Hollywood connections. But it was Susan who managed to find the money to get them both, and the film, to France. Ray's reputation in Europe might have helped secure a screening slot at Cannes, but it failed to convince the press and any other festivalgoers that the film warranted notice. 1318:, at Heston's request. Released from hospital, Ray tried to participate in the editing process, but, according to Marton, "was so abusive and so critical of the first part of the picture, which was my part," that Bronston forbade Ray from viewing any more of the assembled scenes. Though Marton estimated that sixty-five per cent of the picture was his, and though he wanted the directing credit, he accepted a financial settlement from Bronston. Ray was credited as director, and represented the film, his last mainstream motion picture, at its May 1963 premiere in London. 2642:, but financing fell through by July 1976, and the project never materialised. He continued to drink and abuse drugs heavily, and found himself in and out of hospital, with a variety of maladies and injuries due to impairment. Finally, Susan left him, and, on professional advice, gave him the ultimatum that she would not return unless he checked in to the Smithers Alcoholism and Rehabilitation Center, and was sober for one month. Shortly after, he had himself admitted. He remained for ninety days, and was discharged early in November 1976. He started attending 2370:, Lambert remembered Ray's comments about Dix Steele, Bogart's character, at the film's end: "Will he become a hopeless drunk, or kill himself, or seek psychiatric help? Those have always been my personal options, by the way." After a night of vodka and conversation, at 3:30 am, Ray and Lambert, who was gay, had sex, and Ray cautioned "that he wasn't really homosexual, not really even bisexual," advising that he had slept with many women, "but only two or three men." The next day, Ray urged Lambert to accompany him to Hollywood to work on what became 501:. He cultivated a relationship with Wright in order to win an invitation to join "the Fellowship," as the community of Wright "apprentices" was known. In late 1933 Wright asked Ray to organize the newly built Hillside Playhouse, a room at Taliesin dedicated to musical and dramatic performances. There, at regular film screenings often encompassing foreign productions, Ray likely had his first exposure to non-Hollywood cinema. However he and his mentor had a falling-out in spring 1934 with Wright directing him to leave the compound immediately. 1556:, in Binghamton. There he found a cast and crew, students who were eager and imaginative, but also inexperienced. Devoted to the idea of learning by doing, Ray and his class embarked on a major, feature-length project. Rather than the strict division of labour characteristic of his Hollywood career, Ray devised a rotation in which a student would take on different roles behind or in front of the camera. Similar to the Chicago Seven project — some footage from which he incorporated into the new film — the Harpur film, which came to be titled 2418:

film people working in Madrid, but also a place for Ray to sink a fortune, reportedly a quarter-million of his dollars in its first year. To manage it, he hired his nephew, Sumner Williams (whom he had cast in several pictures through the 1950s). Ray continued his chronic habits: too many drinks and pills, too little sleep. He and his wife separated in 1964, and she returned to the US with their children, while he remained in Europe. They remained married until January 1, 1970, when their divorce was finalised and Betty Ray remarried.

2555:"There was increasing tension that became animosity," recalled one of the students, principally between Jacobs and Ray. In part their differences might have stemmed from the different aesthetics of the two artists. Jacobs and Gottheim worked within the largely non-narrative and to varying degrees poetic and formalist realm of experimental film, while Ray's background was in drama and mainstream narrative cinema. Nonetheless, the project upon which he embarked with his students, envisioned as a feature-length film, first called 2056:

elocution lessons, and then joined "Falstaff Club," the school's drama group, though not as an onstage presence. According to biographer Patrick McGilligan, as an adolescent he was "fundamentally restless and lonely," and "prone to long, ambiguous silences." This was characteristic of conversations with Ray for the rest of his life. Gifted with a mellifluous, deep voice, however, Ray won a scholarship to be an announcer at the local radio station, WKBH, for a year, while he was enrolled in

1327: 10463: 2101:. There, shortly before his stint at Taliesin, Ray met young writer Jean Evans (born Jean Abrahams, later Abrams), and they started a relationship. After he returned east, they lived together, and married in 1936. When Ray took a position at the WPA in Washington, by January 1937 they had moved to Arlington, Virginia. They had one son, Anthony Nicholas (born November 24, 1937), known as Tony, and named for Ray's friend and fellow Federal Theatre director 2176:, later remembering, "I was infatuated with her but I didn't like her very much." Nonetheless, they married in Las Vegas on June 1, 1948, just five hours after her divorce from her first husband was granted, and five months before the birth of their son, Timothy, on November 12. (RKO announced that he was born "almost four months before the date he was expected.") Tensions in their marriage were known early on, and by autumn 1949, while shooting 1743:," citing Vakhtangov's notion of "agitation from the essence" as being "a principal guideline for me in my directing career." On a few occasions, he was able to work with actors who were so trained, notably James Dean, but as a director working in the Hollywood studio system, most of his performers were trained classically, on stage, or in the studios themselves. Some found Ray agreeable as a director, while others resisted his methods. On 2724:, a collaboration of Ray and Wenders, though credited collectively to all the participants. With no appetite, and increasingly unable to swallow, Ray was wasting away, and had to be admitted to hospital for intravenous feeding, restoring some weight and buying some time. Ray was visited by friends including Kazan, Connie Bessie, Alan Lomax and his first wife, Jean, as well as students from Harpur College, and his more recent students. 2626:

for a house where he could stop drinking, but soon determined that he needed medical supervision and had him admitted to the detoxification unit at Los Angeles County Hospital. Ray resumed using, however, even persuading his older daughter to buy cocaine for him. On his departure, he left a letter advising that "it is best I live apart from you and our children," for many reasons, ending, "above all others I can bring you no joy."

2313:'s and her own connection to their director, even though the sixteen year-old also was sexually attracted to him, and his bungalow became the site of their assignations, while she was also involved with supporting player Dennis Hopper. Ray himself was also busy with roommates Monroe and Winters, Geneviève Aumont (then the professional name of Michèle Montau), and even Lew Wasserman's wife, Edie, while also interested in 2516:(1971). There Ray again found chaos of creativity and debauchery, of a type he had come to thrive upon, at least until the costs of hosting Nicholas Ray — Nicca Ray heard her father ran up a phone bill of $ 2,500, while Hopper himself likely exaggerated it as $ 30,000 a month — caused Hopper to ask him to leave. In Taos, Ray asked Susan to marry him, giving her his ring, and in return she gave him a pearl. 1111:, one of whom, he later remarked, "almost persuaded me it was a great movie." He was in London when he received the call telling him of James Dean's death, on the last day of the month, and then travelled to Germany, to drink and mourn. Nonetheless, this moment marked a professional change for Ray, most of whose remaining mainstream films were produced outside Hollywood. He returned to Warner Bros. for 2044:(1915), and she was the first in the family with theatrical ambitions — "stagestruck," as he later characterized her — but they were foiled by the family. She moved to Chicago and married a scientist, but indulged her love of the arts as an avid audience member. Helen too had performance in her veins, working awhile reading stories on a children's radio broadcast, then becoming a teacher. 2022:

but continued to live near their father.) Raymond Sr. was a building contractor, age forty-eight when his son was born. After World War I, he retired and moved his family from the small town of Galesville to his own hometown, the larger community of La Crosse, where they would be nearer his mother. Raymond Sr. loved to read and he loved music, and so did Ray, who remembered hearing

599:, in autumn 1943 Ray was among more than twenty OWI employees identified publicly as having Communist affiliations or sympathies, noting that he was "discharged from the WPA community service of Washington DC for Communist activities." The FBI soon determined the case of "Nicholas K. Ray," however, "as not warranting investigation." At the OWI, Ray renewed his acquaintance with 2140:. After his divorce, she and Ray lived together, in New York, from 1942 to 1944, when the OWI sent her to London prior to D-Day, and after she had begun seeing another staff member, Michael Bessie, whom she later married. Ray later wrote, "We had once wanted to marry," though she had remembered his drinking and gambling, commenting, "It was very tricky, being with Nick." 2275:. More lasting was his relationship with German Hanne Axmann (also known as Hanna Axmann, and later Hanna Axmann-Rezzori), who aimed to start an acting career. She left her troubled marriage to actor Edward Tierney to live with Ray at, by her account, a desultory time for him, of drinking, gin rummy and analysis that did him little good. While he was preparing 859:. Soon after the public announcement, and prior to the start of production, Ray stepped away from the project. While the studio considered dismissing him or suspending him, instead it extended his contract, evidently with Hughes's consent. As late as 1979, Ray insisted that Hughes "saved me from blacklisting," although Ray also likely wrote to the 2182:, they had separated for the first time, keeping the split a secret from studio executives. At the end of the year, they announced that they planned to travel to Wisconsin, to spend the holidays with Ray's family there, but he went alone, reuniting with his mother and three sisters, and then on to New York and Boston, to prepare his next project, 512:. Returning after his ejection from Taliesin, Ray joined the Workers' Laboratory Theatre, a communal troupe formed in 1929, which had recently changed its name to the Theatre of Action. Briefly billing himself as Nik Ray, he acted in several productions, collaborating with a number of performers, some of whom he later cast in his films, including 2394:(1952), including one with a troupe of bikini-clad dancers. He described it as the "steam room of the vestal virgins." Some weeks after shooting the scene, in which he featured her, he asked her out to the ballet and dinner, and then took her to the house he was renting, having split with Gloria Grahame. At the end of their evening, like 1873:, he cites the costuming of the posse in stark black and white. Implicitly their dress befits the situation—they have come directly from a funeral—but also situates them in stark contrast to Joan Crawford's Vienna, the character they are persecuting, who changes her wardrobe, in a wide range of vivid colors, from one scene to the next. 1718:, among the first to popularize auteurism in the United States, placed Ray below his "Pantheon," and in his second-rung category "The Far Side of Paradise," in his 1968 assessment of sound-era American directors: "Nicholas Ray is not the greatest director who ever lived; nor is he a Hollywood hack. The Truth lies somewhere in between." 1857:, for instance, "have an autonomous emotional value," but also have impact measured against the "somber browns of a courtroom" or against "the darker red of a sofa on which she sleeps." Ray himself used the latter example to discuss the varying meaning of color, referring to the red-on-red of James Dean's jacket on a red couch, in 1804:. The stories and themes explored in his films stood out in their time for being non-conformist and sympathetic to or even encouraging of instability and the adoption of then-questionable morals. His work has been singled out for the unique way in which it "define the peculiar anxieties and contradictions of America in the ’50s." 2475:. According to Ray's own account, in late January 1970, not untypically, Ray was working through the night, and he fell asleep at the editing table, waking to feel a "heavy" sensation in his right eye. "It took me six hours to find a doctor, and if I had made it twenty minutes sooner, they would have been able to inject 2486:(1955). After 1970, however, Ray started regularly wearing a key prop in the construction of his mystique. He was tall, craggy, with a leonine mane of white hair, and now a black patch over his right eye, looking, in the remembrances of his student Charles Bornstein, "like a cross between Noah, a pirate, and God!" 2334:

opened, sharing a Nicaragua holiday. None of those plans materialized, with Dean's death in a car crash, on September 30, 1955, that left Ray devastated and bereft. On a European tour at the time, he sought comfort with Hanne Axmann, and again in alcohol, in Germany. According to one friend, Ray had

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Raymond Nicholas Kienzle Jr. was the youngest child in his family, and the only boy, called "Ray" or "Junior." His three sisters were significantly older than he: Alice, born 1900; Ruth, born 1903; and Helen, born 1905. (He had two half-sisters, from his father's first marriage. They had both married

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About Ray's editing style, V. F. Perkins describes it as "dislocated ... the dislocated lives which many of his characters live," citing as a characteristic feature the use of camera movements that are in process at the start of the shot and not yet at rest at the end. Frequently, as well, Ray cuts

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in November 1977, though he may have contracted the disease several years earlier. He was treated with cobalt therapy, and in April 1978 radioactive particles were implanted as treatment. The next month, he had surgery to remove a brain tumour. He survived another year, dying of heart failure on June

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on almost every current gauge of film stock, from 35mm to Super 8, he accumulated documentary sequences, dramatized reconstructions of the trial, and collage-like multiple-image footage. In order to continue, he financed production by selling paintings that he owned, and sought backing from anyone he

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treated him and Ray to lavish visits to New York, and then Los Angeles, for meetings, then "conned" Ray into giving up his rights to the property, with a "lucrative director's contract," and evidently nothing to direct. (Jim Jarmusch, who befriended Ray a few years before Ray died, later made a film

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and Warner Bros., on a budget that was mounting, to upwards of $ 2.5 million. Accounts of the productions failure vary, including the assertion that on the first day of shooting, Ray was out of the country, and the conclusion that he was paralysed by doubt and indecision. Whatever the case, prospects

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shortly after. Among the attendees were all four of his wives and all four of his children. He was survived by two sisters, Helen and Alice (Ruth had died in a fire, in 1965), and his ashes were returned to La Crosse, Wisconsin, his hometown, and interred in the same section of Oak Grove Cemetery as

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facility, and, after he wore out that welcome, at the film collective CIne Manifest. While in the area, Ray was taken to hospital twice, once for alcoholic haemorrhaging. The first time, Luddy called Tony Ray to tell him of the fear that Ray would die, and Ray's son declined to do anything, and the

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introduced Ray to Susan Schwartz, an eighteen-year-old newly arrived to study at the University of Chicago, who skipped classes to watch the courtroom theatrics. In February 1970, as the jury deliberated, she found herself in a taxi, on the way to join the hive of activity that surrounded Ray at his

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tells the story of a man who grows reliant on his abuse of medication, and consequently more and more broken. The connections to Ray, who had grown increasingly dependent on both alcohol and drugs, were not lost, even on Ray. In 1976, Ray confessed to himself, in a private journal entry, that he had

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As the youngest, Ray had been indulged by his mother and sisters, and now he was the only male in the family. One by one, though, his sisters left home. By 1924, Alice had completed training as a nurse, married and moved to Madison, and, by the time her father died, Oshkosh. Middle sister Ruth had

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Moving to London, urged to treat his alcohol and drug abuse, he consulted the physician and psychiatrist, Barrington Cooper, who prescribed script work as "occupational therapy." They formed a production company, Emerald Films, under which they developed two projects that were among the few in Ray's

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in the US. Appointed on a two-year contract in the fall of 1972, Ray initially lived in an apartment in the university's infirmary. He then rented a farmhouse, and the hours that students spent there, time that he demanded of them, turned it into a communal living and working situation, redolent of

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testified confidentially in 1952, first refusing to name names, and later doing so, in order to protect his career. The date and content of Ray's own communication with the committee are unknown (McGilligan reports a gap in Ray's Freedom of Information files, between 1948 and 1963), but his ex-wife

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In the spring of 1973, Ray's contract at Binghamton was not renewed. Over the next couple of years, he relocated several times, trying to raise money and continue work on the film, before he returned to New York City. There, he continued to prepare script materials and try to develop film projects,

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for the director a few years before, as Jesus. A vast undertaking by any account, the production endured intervention by backing studio MGM, logistical challenges (the Sermon on the Mount sequence required five cameras and employed 5,400 extras), and the project grew in ways that Ray was not strong

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Having been active in the Student Dramatic Association during his time in Chicago, Ray returned to his hometown and started the La Crosse Little Theatre Group, which presented several productions in 1932. He also briefly re-enrolled at the State Teachers College in the fall of that year. Before his

2708:, involving therapeutic implantation of radioactive particles. Then, on May 26, he had surgery again, to remove a tumour on his brain. He was frail and coughed painfully and he had lost his hair; yet he was still active, and was hired to teach another summer workshop at NYU. He was then invited by 2625:

Later in 1974, Ray returned to Southern California, to stay with his ex-wife Betty and their daughters, Julie, now fourteen, and Nicca, almost thirteen, whom he had not seen since they left Spain, ten years previous. "It was like seeing a man who had been emptied out," Betty recalled. She arranged

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and save the eye." He was hospitalized from January 28 to February 6, and according to writer Myron Meisel, that was Ray's first treatment for cancer. Despite this explanation, Ray remained somewhat elusive about the exact cause, and McGilligan notes several possible sources and witnesses to Ray's

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In early 1963, the family moved from Rome to Madrid, where Ray used money from his Samuel Bronston contract to try to develop projects, which never came to fruition. With a partner, he opened a restaurant and cocktail lounge called Nicca's, after his younger daughter, and it became the hangout for

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was directing for RKO. Ray directed additional scenes, but evidently none in which she was featured. Grahame filed for divorce, and she testified in court that Ray had struck her twice, once at a party and once in private, at home, before the divorce was granted, on August 15, 1952. Gloria Grahame

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In due course, Ray led the Buskins, and started dressing the role of an early twentieth-century aesthete. As well, he started to offer more left-leaning political commentary in the college paper. He fostered other proclivities that would persist through most of his life. After he and Kay Snodgrass

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a positive review (despite calling his trademark sympathetic eye to rebels and criminals "misguided") and acclaimed Ray for "good, realistic production and sharp direction...Mr. Ray has an eye for action details. His staging of the robbery of a bank, all seen by the lad in the pick-up car, makes a

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involving Dean and Sal Mineo. First, Ray responds that he doesn't understand whether the interviewer is referring to Dean's bisexuality, Mineo's, "or the bisexuality of myself", then states, "I am not bisexual, but anyone who denies having had a fantasy or a daydream denies having eaten a bowl of

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abruptly, and disruptively, from the main action of a scene to the response, in close-up, of "a character who is, to all appearances, only peripherally involved." Another distinctive trait is the frequent use of dissolves for scene transitions, "more than most Hollywood directors of his time," as

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and most of the staff of Madrid's Chinese restaurants (as extras, not the Chinese principals), again for Ray, the project was being rewritten on the fly, and he was directing with little preparation. By habit, and because of the pressures of the job, he was heavily medicated and slept little, and

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They relocated to New York City, where Schwartz worked, in real estate and then publishing, to make a living for both of them while Ray sought money to continue work on the film and start other projects. They stayed with Ray's old cronies, including Alan Lomax and Connie Bessie, before finding a

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points out, inferring from this, "perhaps an indication of his general preference for fluidity over hard, nailed-down meanings." Ray himself cited comic strips as instructive, when he started in pictures, as providing examples that deviated from the most conventional Hollywood editing. He also

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Most of Ray's films take place in the United States, and biographer Bernard Eisenschitz stresses the distinctively American themes that run through his motion pictures, and Ray's life. His early work alongside Alan Lomax, as a WPA folklorist and then in radio, and his acquaintance with musicians

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He was deeply saddened by Sal mineo's passing and attended his funeral in February 1976. They reconnected when Sal and his long-term partner Courtney Burr was invited to Ray's house in 1971. And, shortly after, he returned to New York City, where he was offered the opportunity to direct a film

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midway through his final year. According to school newspapers and yearbooks, he was popular, with a good sense of humour about himself. He played football and basketball, and was a cheerleader, perhaps more social activities than athletic commitments. Debate was a greater interest, and he took

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in 1973, to an abiding lack of interest. Ray shot additional scenes in Amsterdam, shortly after the Cannes screening, in New York in January 1974, and two months later in San Francisco, and edited a second version, with the hopes of attracting a distributor in 1976. It remained uncompleted and

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novels. Shot on film over a few days, after a week's rehearsal, the half-hour drama was broadcast on October 3, 1954. Ray did not work in broadcast television after, and rarely spoke of the program, later expressing his disappointment: "I was hoping for something new, accidental or planned, to

1853:—but meaningfully, determined by the circumstances of the film's story and its characters. As V. F. Perkins points out, he uses colors "for their emotional effect," but more characteristically "for the extent to which they blend or clash with background." The reds that Cyd Charisse wears in 2190:

was opening, Ray and Grahame were reported to have reconciled, living in Malibu, though their marriage remained dysfunctional. Ray stated that he had discovered Grahame in bed with his son, Tony, who was 13 years old at the time. Although they were irreparably estranged, Ray and Grahame were

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Ray's reputation for youth-oriented films led Ellen Ray (unrelated to him) and her partners in Dome Films to solicit him to direct her screenplay about a young man on trial for possession of marijuana, which became the reason for Ray's return to the United States in November 1969. Instead of

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observes, however, many of Ray's compositions "are deliberately, sometimes startlingly, unbalanced to give an effect of displacement," further noting his use of "static masses with bold lines ... which intrude into the frame and at the same time disrupt and unify his compositions." Bernard

2701:, he now looked gaunt and drawn. After his scenes were shot, he visited Houseman in Malibu, and he summoned Nicca, so that he could tell his daughter that he was dying of cancer. They remained in contact, and though she hoped to travel to New York, it was the last time they saw each other. 2398:, he called a cab and sent her home. She subsequently did not hear from him for almost three years, when he called her to come to his Chateau Marmont bungalow for an assignation. He then disappeared again, until 1956, when he called again. In 1958, she won a place as one of the chorines in 2301:, a project of particular importance to him, about troubled young people. That was where he pitched his need to make such a film to Lew Wasserman, prompting his agent to send him to Warner Bros. The hotel residence also became Ray's headquarters and rehearsal space, and it was where 1008:

was released, only a few weeks after Dean's early death in an automobile crash, it had a revolutionary impact on movie-making and youth culture, virtually giving birth to the contemporary concept of the American teenager. Looking past its social and pop-culture significance,

1623:(1974). Within a collection of shorts, most of which satirized pornography, Ray's was also a very personal film in which he cast himself in the double role of a caretaker and a preacher, and used visual techniques comparable to those in his previous film. The second, 2330:(1956), a pregnancy scare, which turned out to be false, prompted her to break off the romance. Dean had had apprehensions about Ray, but their trust, partnership and friendship grew, and they talked about forming a production company, collaborating again, and, after 1159:

as Brand's wife and, before the war, Leith's lover. Shot on location in the Libyan desert, with some sequences in a studio in Nice, it was by all accounts an arduous production, exacerbated for Ray by his drinking and drug use. As much an art film as a conventional

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house. "After only one day on Orchard Street," she later wrote, "the decision was easy: at the end of the term I would quit school and join the adventure, whatever it was." They became companions, and the adventure lasted until the end of Ray's life, and beyond.

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without distribution at Ray's death, in 1979, but some prints of the 1973 version were made and screened at festivals and retrospectives through the 1980s. A restored version, based on the 1973 cut, was released on DVD and Blu-ray in 2011, by Oscilloscope Films.

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He had travelled to California in summer 1977, taking Betty and Nicca to dinner, and leaving his daughter a letter that caused her to "start believing that Nick understood me better than Betty ever would." He returned west in February 1978 to play a bit part in

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was notable for its empathy for society's young outsiders, a recurring motif in Ray's oeuvre. Its subject matter, two young lovers running from the law, had an influence on the sporadically popular movie sub-genre involving a fugitive criminal couple, including

1564:. The pictures were combined into multiple-image constructions using as many as five projectors, and refilming the images in 35mm from a screen. Two documentaries provide records of Ray's methods and the work of his class: the near-contemporary biography, 2060:. (Later, he would describe this award as "a scholarship to any university in the world"—a narrative embellishment typical of him. He reported that the summer following, he joined a troupe of stunt fliers, but also of working with an airborne bootlegger.) 2109:, the new leftist newspaper. Ray returned to New York as well, in May of that year, but soon the couple separated. A few months later he again attempted to reconcile, while also living at Almanac House, a Greenwich Village loft occupied by Pete Seeger, 2034:, but the father drank and frequented speakeasies, and it was in one, when his father went missing in 1927, that Ray tracked down his father's mistress, who led him to a hotel room where Raymond Sr. was insensate; he died the next day. Ray was sixteen. 2719:

With the imminent prospect of his death, Ray had spoken with his son Tim about making a documentary about a father-son relationship. Though that project remained unpursued, Tim Ray, experienced in cinematography, joined the crew that assembled to make

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with carefully choreographed blocking and composition that often emphasizes architecture. Ray himself credited his affection for widescreen formats to Frank Lloyd Wright: "I like the horizontal line, and the horizontal was essential for Wright." As

2374:, and Lambert remained a sometimes-sexual partner, while Ray continued to pursue women. According to Lambert, Ray "behaved like a possessive lover, expecting me to be always here on call..." while Ray continued to dwell on the loss of James Dean. 1446:, was the second property that Ray tried to develop as an Emerald Films venture. As a dystopian parable, in which adults have abandoned society and adolescents have formed gangs to take charge, it might have seemed perfect for the director of 1039:

of Mineo, through his role as Plato, who would become the first gay teenager to appear on film. During filming, Ray began a short-lived affair with Wood, who, at age 16, was 27 years his junior. This created a tense atmosphere between Ray and

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portray, not a man who was drinking (the rationale often advanced), but a film-maker who couldn't make up his mind, seeking refuge in frenzied activity and loading himself with unnecessary burdens." With an international cast, including

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led the studio to send Ray on his first overseas trip, in September 1955, to publicize the film, while it was still in previews in the US. He visited Paris, where he met some of the French critics, eager to talk with the director of

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Ida Lupino has been said to have directed some scenes when Ray was ill. Eisenschitz found no evidence in RKO production files, though at the time she did direct Ray in a screen test for her upcoming production, released in 1951 as

2414:, where the couple spent several weeks, before marrying on October 13, 1958. They had two daughters, both born in Rome: Julie Christina, on January 10, 1960, and Nicca, October 1, 1961. Ray's mother Lena had died in March 1959. 2067:, the school newspaper, she on features, and he on sports, and as co-writers of a stage revue revolving around a college student who goes to Hollywood. The couple was known around campus as "Ray and Kay." For the revue, titled 2381:

lived in a "continuous blackout between 1957 or earlier until now," and his wife Susan, on seeing the film, commented to her husband, "This is your story before you lived it." Ray's drug use was abetted, while he was shooting

407:, the youngest of four children and only son of Olene "Lena" (Toppen) and Raymond Nicholas Kienzle, a contractor and builder. His paternal grandparents were German and his maternal grandparents were Norwegian. He grew up in 2346:, alleging his experience at the University of Chicago was the start of his sexual experimentation. Ray denied this in 1977, responding to a question about Ray's use of James Dean's "probable bisexuality" in a sequence of 1659:, uses documentary footage and dramatic constructions, juxtaposing film and video. It charts their passage in making a film, as well as recording events of Ray's last months, including directing a stage scene with actor 876:

as a champion bronco rider who tutors a younger man in the ways of rodeoing while becoming emotionally involved with the younger cowpoke's wife. At a March 1979 college appearance, documented in the first sequence of

1638:

Having contracted cancer and facing mortality, Ray and his son Tim conceived a documentary about a father-son relationship. That idea, and Ray's hunger to continue working, led to the involvement of German filmmaker

1175:

While for the first decade of his career Ray's films had been studio pictures, and relatively small in scale, by the late 1950s, they were increasing in logistical complexity and difficulty, and cost. As well, the

1409:, the largest production company in Yugoslavia, to back that film and three others, leading him from London to Zagreb. Production was announced as starting on September 1, 1965, amended to October 21, with 2097:, with the hope of joining Wright's Fellowship at Taliesin. Lacking the tuition fee, in 1933 Ray ventured to New York City, where, staying in Greenwich Village, he had his first encounters with the city's 1726:

Like many US theatre practitioners of the 1930s, Ray was strongly influenced by the theories and practices of early-twentieth century Russian dramatists, and the system of actor training that evolved into

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fine clip of agitating film. And his sensitive juxtaposing of his actors against highways, tourist camps and bleak motels makes for a vivid comprehension of an intimate personal drama in hopeless flight."

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in a documentary supplement included on the 2003 Columbia DVD release, and later also included on the 2016 Criterion Collection Blu-ray release. Ray's film was one of many influences on his direction of

2679:, about the founder of Alcoholics Anonymous. In November 1977, however, he was diagnosed with lung cancer. Surgery showed that the tumour was too close to his aorta to be safely removed, so he received 1826:

Eisenschitz also links Wright to Ray's desire to "destroy the rectangular frame" (as the filmmaker said, adding, "I couldn't stand the formality of it"), through the multiple-image techniques he used in

898:, a major Hollywood force, who steered the director's career through the 1950s. During that time, Ray directed one or two films for most of the major studios, and one generally considered to be a minor, 2305:

arrived, aiming to meet the director. Dean started to attend Ray's "Sunday afternoons," his regular gatherings of friends at the bungalow, where scenes of the film to come were starting to take shape.

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Migrating from Chicago to New York City, and then, at Dennis Hopper's invitation, New Mexico, in 1971 Ray landed in upstate New York, and started a new career as a teacher, accepting an appointment at

1780:

evident in his films. Ray frequently made films characterized by their examination of outsider figures, and most of his movies implicitly or explicitly critique conformity. With examples including

1714:) of film directors who worked in Hollywood, and whose work had a recognizable and distinctive stamp seen to transcend the standardized industrial system in which they were produced. Still, critic 2845:(1966), "À Nick et Samuel qui m'ont élevé dans le respect de l'image et du son." Godard had seen some of Ray's multiple-image work, Ray affirmed, before Godard's ventures into the format, with 2209:

investigations of Hollywood and the entertainment industry, which largely coincided with Ray's marriage to and divorce from Gloria Grahame, further weighed on him. Fellow RKO employees, such as

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As in high school, he joined the drama society, the Buskin Club, where he also found a girlfriend, Kathryn Snodgrass, daughter of the school president. They also collaborated as editors on the

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Relocating to Los Angeles to work with Elia Kazan, Ray first lived in a flat at the Villa Primavera, on the corner of Harper and Fountain, that became the model for the apartment building in

1763:: "He directs very little.... Right from the start of our collaboration, he offered me a very few suggestions. ... He never told me what to do. He was never specific about anything at all." 2712:— once Ray's contemporary, as a Hollywood director, now chair of the NYU graduate film program — to teach in the autumn. He assigned Ray a teaching assistant, soon to become a friend, 2121:. He committed himself for a time to psychoanalysis, but in time fell back into old habits. Evans filed for divorce in December 1941, and the process was finalized the next summer. 2444:. Soon after, he announced plans for a documentary about "the young rebels of the 1960s," and relocated to Chicago, to shoot as the trial of the Chicago Eight, soon to become the 2105:. Washington government life wore on both Ray and Evans, and Ray's drinking and unfaithfulness strained their marriage. Evans moved back to New York in 1940, having found a job at 1510:, one of several projects, concerning contemporary young people during a time of questioning, rebellion and revolt that never came to be. Similarly, Ray enticed Schroeder's friend 1468:

While working with Dr. Cooper, and after, Ray maintained some degree of cash flow by developing and editing scripts, but for films that never came to be. He made the German island

1788:, he has been cited for his sympathetic treatment of contemporary youth, but other films of his adeptly deal with the crises of more experienced and older characters, among them 1522:), a story about mixed and assumed identities, and Tchalgadjieff raised a half-million dollars, only for Ray to manoeuvre him out, and for nothing to emerge from the enterprise. 466:

in the fall of 1931. Although he spent only one semester at the institution because of excessive drinking and poor grades, Ray managed to cultivate a relationship with dramatist

2917: 10530: 2283:), Ray asked her to return to Germany, and said he would join her there. He did not make good on that promise, though they remained in touch and friends for years thereafter. 2760:. Asked to comment on any continuities between Ray's work and his own filmmaking in 2004, however, he demurred, though he has also remarked on a connection between his film 40: 2448:, proceeded. He filmed a party for the defendants and their team the evening of December 3, the day the prosecution ended its case. Overnight, the Chicago police killed 664:

called on Houseman's time and attention, Ray took over the task of staging the broadcast, which aired on January 30, 1946. The next year, Ray directed his first film,

6986: 2987:. He gave Ray a small but key role in the film: an artist, presumed dead, who forges his own work. He also co-directed Ray's final film, the experimental documentary 2243:

Although he had been wary of therapy, by court order in the divorce, he started seeing psychoanalyst Carel Van der Heide. Even so, he continued womanizing (columnist

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plays an alienated, brutally violent detective on a city police force who finds redemption, and love, after he is sent to investigate a murder in a rural community.

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is another European admirer of Ray's and has paid homage to him in many movies. Some of his films are indebted to Ray, from the title of his science fiction film

2800:). Henceforth there is cinema. And the cinema is Nicholas Ray." In addition, Godard's films abound in references and allusions to Ray's films. In Godard's film, 1575:

In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking

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broke up, and she transferred to the university in Madison, he courted numerous young women, and balanced insomnia with alcohol-fed socializing all night long.

1502:, whose production company tried to find backing for one or another of Ray's projects. There, in the wake of the May 1968 demonstrations, he collaborated with 642:. Also through Houseman, Ray had the opportunity to work in television, one of his few forays into the new medium. Houseman had agreed to direct an adaption of 2581:

At loose ends, Ray and Susan spent some time in Paris, borrowing money from his longtime champion François Truffaut and racking up hotel costs paid by writer

1465:(2013). The story of a young vampire couple — who of course are not young at all — its only connection with the Wallis novel or Ray's project is its title.) 258:

as "Hollywood's last romantic" and "one of postwar American cinema’s supremely gifted and ultimately tragic filmmakers," Ray was considered an iconoclastic

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Jean Evans remembered that he admitted to her that he testified she "was the one who brought him to the Communist Youth League, which wasn't true at all."

1484:, a production that would also demand 2,000 extras. While in Europe, he attracted some of the current generation of filmmakers. He had been introduced to 9221: 1902:

Ray distinguished himself by working in nearly every conventionalised Hollywood genre, infusing them with distinctive stylistic and thematic approaches:

2385:, by his new girlfriend, a heroin addict named Manon, and his gambling losses led him to a pitiable state that broke his friendship with Gavin Lambert. 2667:(1977). At the same time, with the support of old friends Elia Kazan and John Houseman, he started to present workshops on acting and directing at the 2498:

place of their own, while Ray continued to indulge his addictions and at night haunt the seamier corners of Times Square. When they crossed paths at a

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As 1932 ended, Ray left college, and, now calling himself Nicholas Ray, sought new opportunities, including, with the help of Thornton Wilder, meeting

431:-era nightlife. Upon his return to La Crosse in his senior year, he emerged as a talented orator, winning a contest at local radio station WKBH (now 6446: 1861:, as "smoldering danger," while the same arrangement of Charisse's gown and sofa "was an entirely different value" (which he did not specify). In 262:

director who often clashed with the Hollywood studio system of the time, but would prove highly influential to future generations of filmmakers.

4877: 3267:, who was originally assigned to the film, was called in to direct some scenes when Ray fell ill, after reacting to treatment for a foot wound. 2402:, and after shooting ended they eloped to Maine, where Ray hoped to start his third marriage by drying out. En route, he collapsed at Boston's 801:

Ray made several more contributions to the noir genre, most notably the 1950 Humphrey Bogart movie, also for Santana and released by Columbia,

1057:, who played an elementary-school teacher, stricken with a rare circulatory ailment, and driven delusional by his abuse of a new wonder drug, 10535: 4668: 363: 2740:

In the decades after his professional peak, and since his death, filmmakers continue to cite Ray as an influence and object of admiration.

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remembered that when shooting his first film, the editor (Sherman Todd) encouraged him to "shoot double reverses" (that is, to violate the

1560:, used material shot on numerous gauges of film, as well as video that was later processed and manipulated with a synthesizer provided by 4767: 2159:, whom he had briefly, unsuccessfully pursued in New York, after his marriage ended. On one occasion, fueled by alcohol, they waded into 1989:. Yet he also applied himself to films that fell between genres, such as the gangster film, punctuated by dance numbers but not quite a 933:

in action roles of the kind customarily played by men. Stylized, and highly eccentric in its time, it was much loved by French critics. (

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is also one of the film titles used as code names by the "Front de libération de Seine et Oise" guerillas in the concluding sequence of

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be "stylized in every respect, all of it shot on the stage, including the horses, the chases, everything, and do it in areas of light."

1627:(1978), derived from one of his Strasberg Institute classes and was based on the first few pages of a recent novel of the same name, by 10560: 10510: 10500: 6079: 4295: 2388:

Seventeen-year-old Betty Utey first crossed paths with Ray in 1951, at RKO, when he was assigned to direct some additional scenes for

2163:, an excursion that turned into a halfhearted double suicide attempt, before they changed their minds and struggled back to dry land. 1274:, looking at an extremely lucrative prospect, persuaded the director to sign again with Bronston for another epic, this one about the 10505: 2147:, before moving into a house in Santa Monica. While at Fox, he socialized with fellow transplanted east coasters and theatre folk at 323: 2668: 4281:

Deutsch, James I., and Lauren R. Shaw, "Citizen Nick: Civic Engagement and Folk Culture in the Life and Work of Nicholas Ray," in

2339:, but, realizing that the filmmaker was drinking as he was, concluded; "I think it was all over on that September night of 1955." 10550: 10515: 960:. The anthology series was produced by MCA-Revue, a subsidiary of the agency to which the director was signed, and aired on CBS. 572: 486:. By early 1933, he had left the State Teachers College and began to employ the moniker of "Nicholas Ray" in his correspondence. 10525: 10520: 7020: 5571: 2748:

has commented on Ray's films with great affection, also collaborating with Jos Oliver on a catalogue for a 1986 retrospective,

2705: 860: 2609:, but he came with boxes of footage and personal goods, intending to stay awhile. He lived in a spare room at archive curator 10545: 10079: 6931: 6217: 5983: 4144: 2324:

Ray and Wood continued their affair for several months after production wrapped, and while he was shooting his next project,

2057: 1816:, Ray later became better known for his vivid use of color and widescreen. His films have also been noted for their stylized 603:, Houseman's assistant, and her husband, Elia Kazan, from the New York theatre days. In 1944, heading to Hollywood to direct 459: 2086:

A hometown friend studying at the University of Chicago had pitched the benefits of his school, especially his classes with

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Through the middle of the 1960s, Ray lived peripatetically, setting up in Paris, London, Zagreb, Munich and, for a while,

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appreciated Ray's hands-on direction, even though they differed in their interpretation of a scene. Their co-star, the

1702:. Further, Ray is considered a central figure in the development of auteur theory itself. He was often singled out by 1215:. An epic-scale production, with Italian backing and distribution by Paramount, Ray began shooting the film, with lead 424: 2047:

Increasingly unmanageable after his father's death, Ray was sent to Chicago to live with his sister Ruth and enrol in

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that had both challenged and supported him was changing, making Hollywood less viable for him as a professional base.

10007: 6913: 6890: 6867: 5940: 5069: 5021: 4781: 4463: 4285:, ed. Steven Rybin and Will Scheibel, Albany: State University of New York Press, pp. 110–15. ISBN 978-1-4384-4981-4 4179: 4119: 2897:, revives the title of an unmade Ray project. The stories are unrelated, but a photo of Ray is evident in one scene. 2293:'s list of "1954 Boxoffice Champs," increasing his professional capital. By now, he had moved into Bungalow 2 at the 2232: 9233: 6291: 2071:, Ray took the stage, as compere. In April 1930, he advanced to play the lead in the school's major production, of 2459:

The project had mutated from a documentary to a strange dramatic reconstruction, for which Ray considered casting

1013:

is the purest example of Ray's cinematic style and vision, with an expressionistic use of colour, dramatic use of

6205: 5144: 584: 479: 419:, with his alcoholic father as an example, at age sixteen Ray was sent to live with his older, married sister in 6639: 4064: 2622:

second time, Luddy similarly called John Houseman, who happened to be in the area, meeting a similar dismissal.

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called him "a well-known movie colony heartbreaker") and drinking, both prodigiously. He had romances with both

10540: 10228: 10221: 10043: 6794: 6769: 3544: 2883: 1442: 9820: 1498:, pocketing about one-third of the money as his fee and for expenses. When in Paris, he sometimes stayed with 632:, in 1946. Earlier that year he was assistant director, under director Houseman, of another Broadway musical, 478:, the college's weekly publication, and resumed writing for it when he returned, but, according to biographer 7146: 3433: 2440:

He returned to the United States on November 14, 1969, landing in Washington, DC just in time for the second

2052: 1405:, who supplied him with corpses for dissection, to be used during medical lessons. Ray struck up a deal with 1063: 529: 455: 2991:, and edited it after Ray's death. The film is a touching portrait of the final days of Nicholas Ray's life. 9257: 7371: 1342:, he did not direct again until the 1970s, though he continued to try to develop projects while in Europe. 1193:(1960) was the only screenplay of a film he directed for which he received credit. Adapting a novel about 254:, August 7, 1911 – June 16, 1979) was an American film director, screenwriter, and actor. Described by the 6926:(Güney), contains an essay, "Reminders of Ray's Century", which highlights aspects of Nicholas Ray' life. 6022: 1488:

by Hanne Axmann, who had starred in Schlöndorff's first film, and Ray brokered a deal to sell his second,

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as the invalid woman who thinks that she's the object of a murder scheme she overhears on her phone. When

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While in New Mexico, in spring 1971, Ray was invited to speak at Harpur College, an academic unit of the

2403: 689:) as early as June 1948, but not released until November 1949, due to the chaotic conditions surrounding 2589:, his "Johnny Guitar," from almost twenty years before. Ray travelled to Amsterdam, shooting a segment, 10270: 10179: 7162: 7074: 7013: 3781: 3500: 3149: 2965: 2598: 1812:

While he started working in Hollywood on film noir and other black-and-white pictures, in the standard

1596:, before the production collapsed. He was also able to continue teaching acting and directing, at the 1113: 830: 5805: 4643: 855:

and Joseph Losey had previously turned it down, and both were punished by the studio and subsequently

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Ray found himself increasingly shut out of the Hollywood film industry in the early 1960s, and after

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to replace the lost location scenes, when the production moved to Rome, as planned, for studio work.

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Ray's directorial style and preoccupations evident in his films have led critics to consider him an

1511: 9195: 8741: 8133: 8042: 4352: 3231: 2871: 2456:, in his sleep, and Ray and his crew were on the scene early in the morning to film the aftermath. 956: 852: 474:

stint at Chicago, he had contributed a regular column of musings, called "The Bullshevist," to the

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poster is hanging, and the protagonist asks the popcorn seller about the picture. His 2013 film,

482:, Ray, with friend Clarence Hiskey, also arranged meetings to organize a La Crosse chapter of the 10328: 10214: 9397: 9293: 7932: 7238: 5534: 4864: 4329: 2009:—or which even predicted more significant, later concerns, such as the ecologically themed drama 1740: 1597: 1069: 781: 757: 525: 498: 6977: 6842: 5038: 4171: 10455: 10412: 10263: 9341: 8622: 8054: 7958: 7855: 7170: 6968: 6905: 4988: 3807: 3529: 2893: 2602: 1530:, however, Ray embarked on projects concerning young Americans in turbulent times, notably the 1461: 1430: 1402: 1155:

as Leith and Brand, British army officers on a mission to raid a Nazi station in Benghazi, and

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was Ray's biggest commercial success, and marked a breakthrough in the careers of child actors

776: 239: 6962: 6481: 2601:. He returned to New York by the end of the year, but in March 1974 he went back west, to the 2030:, playing on the banks of the Mississippi River, around 1920. Mother Lena was a Lutheran and 10391: 10314: 9611: 8504: 8343: 7764: 7688: 7485: 7122: 7006: 5011: 3945: 3339: 2531:

that Ray should join them on faculty in the Cinema Department, then one of the epicenters of

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his base of operations and imagined projects that might be shot there, including one to star

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Curtis Hanson, director of crime drama ‘L.A. Confidential,’ dies at 71 - The Washington Post

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diminished vision, including a special-effects blast fifteen years previous, while shooting

1485: 587:, and was given its B-2 classification of "tentative dangerousness." Additionally, Director 10490: 10485: 10448: 10235: 10091: 8951: 7305: 7210: 7178: 7114: 5743:"Anthony Ray, Actor, Oscar-Nominated Producer and Son of Director Nicholas Ray, Dies at 80" 3790: 3722: 3565: 3307: 2643: 2614: 2575: 2482: 2411: 2027: 1651: 1584: 1372: 1259:, in a review titled "Christ or Credit Card?", calling it "disedifying and antireligious." 1189: 946: 930: 879: 843: 408: 352: 255: 9534: 8986: 2924: 2335:

been more moderate for some time, and especially during the summer when he was working on

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remembered Ray's relationship with Dean as "fatherly," and attributed the same quality to

1703: 1534:, forming a production company called Leo Seven, and drawing some financial interest from 1429:, who in retrospect wondered why he agreed. Ray tried in vain to enlist US investment, by 934: 508:, where he had his first encounters with the political theatre growing in response to the 358: 8: 10293: 9750: 9743: 9329: 9125: 9039: 8958: 8713: 8706: 8462: 7653: 7355: 7090: 7082: 7058: 4773: 4014: 3861: 3535: 3515: 3208: 3177: 3089: 2830: 2709: 2672: 2663: 2453: 2218: 2198: 2168: 1919: 1645: 1601: 1279: 856: 809: 714: 699: 648: 634: 628: 557: 483: 9317: 8581: 6879: 2540:, or, before that, the 1930s New York scene of political theatre and music, though with 2202:

and Tony Ray married in 1960 and divorced in 1974. Tony Ray died June 29, 2018, age 80.

1731:." Late in life, he told students, "My first orientation to the theatre was more toward 10466: 10277: 10172: 10129: 10067: 10055: 9971: 9646: 9604: 9202: 8937: 8755: 8294: 8280: 8175: 8030: 8006: 7890: 7476: 7231: 7042: 6497:. Madrid: Filmoteca española/Instituto de la cinematografía y las artes audiovisuales. 6451: 4303: 4164: 3040: 3029: 2941: 2853: 2789: 2476: 2361: 2351:

potatoes, mashed potatoes, you know, it has the same reality." Returning to Europe, in

2261: 2094: 1842: 1736: 1732: 1628: 1495: 1451: 1255: 1211: 1084: 1035:. Ray engaged in a tempestuous "spiritual marriage" with Dean, and awakened the latent 965: 789: 733: 666: 564:, for CBS. American folk songs would later figure prominently in several of his films. 490: 280: 9995: 9903: 9757: 6729:

montre i'intellectuel dans son intensité, fort de la superiorité de son vocabulaire."

5251: 2582: 10200: 10103: 9840: 9792: 9764: 9671: 9632: 9597: 9427: 8895: 8867: 8727: 8420: 8336: 8238: 8203: 7970: 7750: 7716: 7194: 7066: 7050: 6948: 6927: 6909: 6886: 6863: 6790: 6765: 6498: 6213: 5979: 5936: 5632: 5065: 5017: 4777: 4459: 4175: 4140: 4115: 3963: 3674: 3631: 3381: 3282: 3121: 3100: 3061: 2847: 2793: 2618: 2532: 2244: 2223: 2221:, who had been cited for contempt of Congress in the aftermath of the 1947 hearings; 2178: 1878: 1506:

and producer Henry Lange to shoot a three-part, one-hour film, which he later titled

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Though he contributed to the writing of most of his films — perhaps most extensively

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as a singer who becomes the subject of a crime and an investigation of her past, and

803: 718: 705: 609:, Kazan suggested Ray go west, too, and hired him as an assistant on the production. 494: 420: 310: 287: 9506: 7597: 4324: 4205: 2953:. Truffaut also appears as an interview subject in the 1975 documentary about Ray, 1706:

critics who coined the term to designate exemplars (alongside such major figures as

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Evans, Peter, and Robin Fiddian (2000). "A Narrative of Star-Cross'd Lovers," in

462:) for two years before earning the requisite grades to apply for admission to the 10419: 10370: 10356: 10349: 9910: 9813: 9625: 9618: 9520: 9492: 9464: 9416: 9269: 9188: 9160: 9055: 8979: 8930: 8818: 8783: 8671: 8664: 8608: 8560: 8469: 8357: 8210: 8182: 7982: 7904: 7897: 7876: 7813: 7771: 7681: 7674: 7632: 7576: 7467: 6998: 6664:

Martin Scorsese introduces Johnny Guitar (USA, 1954) dir. Nicholas Ray on YouTube

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Ray had been rejected for military service on medical grounds but worked for the

2118: 2114: 2087: 2023: 1942: 1926: 1883: 1288: 1275: 1235: 1228: 985: 903: 767: 762: 742: 710: 657: 624: 588: 467: 439: 386: 382: 9062: 8881: 8657: 8161: 7513: 6789:. Translated by Mayhew, Leonard. New York: Simon and Schuster. pp. 141–47. 3486: 2745: 2688: 1869:

it was "life, grass, and hospital walls," and, referring to the use of color in

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confused many, while enthusing Ray's continental supporters, such as Godard and

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as a film about "a man who wants to bring himself all together before he dies."

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Dismissed from production before completion / Technicolor, Super-Technirama 70

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Ray died in hospital of heart failure on June 16, 1979. A memorial was held at

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about his political past or testified in private, in order to protect himself.

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of the Edward Anderson novel that had also served as the basis for Ray's film,

729: 697:. As a result of the delay, the second and third pictures Ray directed, RKO's 617: 391: 342: 276: 160: 8993: 8650: 8315: 7925: 7806: 6953: 6663: 6597: 4513: 2359:, with whom he had corresponded since Lambert's pioneering positive review of 1776:, informed his approach to American society in his films, and the interest in 1643:, who had previously employed Ray as an actor, in a small but notable role in 1568:(1975), directed by David Helpern Jr., and Susan Ray's retrospective account, 1308:, a highly regarded second-unit director fresh off another runaway spectacle, 1169: 454:, he graduated at the bottom (ranked 152nd in a class of 153) of his class at 10479: 10398: 10363: 10256: 9938: 9882: 9868: 9715: 9576: 9478: 9471: 9457: 9167: 9048: 8916: 8811: 8769: 8720: 8553: 8546: 8511: 8476: 8427: 8399: 8322: 7918: 7848: 7820: 7792: 7695: 7611: 7555: 7541: 7534: 7520: 7428: 7408: 7326: 7298: 7106: 7098: 4257: 3888: 3580: 3444: 3287: 3276: 3259: 3250: 3244: 3160: 2976: 2861: 2835: 2762: 2503: 2499: 2445: 2356: 2272: 2267: 2256: 2156: 2129: 1822: 1813: 1756: 1728: 1715: 1687: 1664: 1561: 1531: 1414: 1331: 1326: 1305: 1263: 1224: 1216: 1177: 1131: 1117:(1958), an ecologically themed period drama about plume poachers, written by 1088: 1074: 1041: 1036: 981: 926: 915: 895: 868: 848: 835: 772: 690: 639: 580: 545: 505: 416: 347: 293: 86: 8678: 7583: 7346: 4458:. Translated by Mayhew, Leonard. New York: Simon and Schuster. p. 142. 1253:(1961) was received with hostility by the US press, the Catholic periodical 489:

Through his connections with Thornton Wilder and others in Chicago, Ray met

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received credit even though he was replaced by Ray two months into filming

3737: 3548: 3419: 3390: 3386: 3354: 3345: 3318: 3214: 3183: 3155: 3095: 3035: 2878: 2785: 2713: 2545: 2468: 2464: 2449: 2306: 2214: 2193: 2133: 2102: 1990: 1748: 1711: 1660: 1605: 1394: 1346: 1135: 1028: 1014: 977: 969: 951: 913:

In the mid-fifties, he made the two films for which he is best remembered:

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Vakhtangov, Evgeny (1955). "Preparing for the Role". In Cole, Toby (ed.).

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Truffaut, François. (February 23–March 1, 1955). "Le Film de la semaine:

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In early 1977, Ray started to realize some new opportunities. In March,

1121:

and produced by his brother, Stuart Schulberg; and, at MGM, he directed

381:

are particularly well regarded and he was an important influence on the

10335: 9889: 9660: 9583: 9562: 9450: 9118: 9104: 8853: 8839: 8776: 8699: 8588: 8455: 8392: 8252: 8082: 7883: 7841: 7778: 7435: 6993: 6944: 5193:, ed. Douglas Pye. Detroit: Wayne State University Press, 2020. p. 89. 3711: 3575: 3553: 3448: 3350: 3322: 3223: 3188: 3076: 2585:. Susan returned to New York, and Ray stayed awhile on a boat owned by 2528: 2302: 2236: 2148: 2031: 1903: 1773: 1690:. His ashes were buried at Oak Grove Cemetery in La Crosse, Wisconsin. 1473: 1426: 1406: 1156: 1001: 553: 533: 521: 458:

in 1929. He studied drama at La Crosse State Teachers College (now the

272: 5572:"These 1920s Apartments Inspired One of the Best Noir Films ever made" 4409:

Crowther, Bosley. "They Live by Night" New York Times November 4, 1949

2675:. He was also approached about directing a couple of films, including 10384: 10342: 10207: 9917: 9007: 8762: 8629: 8350: 8301: 8266: 7827: 7254: 7130: 4353:"Nicholas Ray: An Inventory of His Papers at the Harry Ransom Center" 3511: 3375: 3358: 2945:(1949) is Ray's best movie, but gives special attention to his films 2903:

admires Ray's work, particularly his expressionistic use of color in

2610: 2326: 2310: 1978: 1966: 1669: 1576: 1300:

finally, he collapsed on the set, according to his wife, suffering a

1058: 1032: 944:

Between feature-length projects, and after shooting another Western,

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79 (January); translated as "Jean-Luc Godard: Beyond the Stars," in

1759:-trained Robert Ryan, remembered favourably his second Ray project, 1314:(1963), with some of Heston's final scenes with Gardner directed by 536:

and traveled with him through rural America, collecting traditional

8231: 8098: 7456: 7417: 7401: 7387: 7278: 6881:

Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause

4100:, ed. Jim Hillier. London: Routledge and Kegan Paul, 1985, p. 118. 3613: 3296: 2635: 2110: 1954: 1227:, but much of the footage was lost in a plane crash. He had to use 1220: 1161: 1141:

Prior to those projects, however, Ray returned to France to direct

1083:(1956), at the studio. Fox demurred, however, and Presley moved to 1061:. In 1957, completing a two-picture deal, Ray reluctantly directed 891: 807:, about a troubled screenwriter suspected of a violent murder, and 513: 451: 3571: 2661:

cast him in a small but notable role, alongside Dennis Hopper, in

544:, a pioneering folk music radio program featuring such artists as 9983: 9028: 8490: 8105: 7394: 7378: 7364: 4935:

Krohn, Bill (2014). "The Class: Interview with Nicholas Ray," in

4342:

Quoted in Eisenschitz, p. 70, McGilligan, pp. 97–98, 103–04, 519.

3539: 2613:'s residence and worked overnight shifts in the editing rooms of 2549: 1421:

in the cast, but Ray insisted on rewrites, asking, among others,

1397:(whom Cooper had also treated), inspired by the 1828 case of Dr. 1018: 1000:, twenty-four hours in the life of a troubled teenager, starring 447: 6210:

Binghamton Babylon: Voices from the Cinema Department, 1967–1977

5876:

Lambert, Gavin (1949). "'They Live By Night' and 'The Letter'".

5363: 5361: 4296:"Nicholas Ray: Hollywood's Last Romantic - Harvard Film Archive" 4283:

Lonely Places, Dangerous Ground: Nicholas Ray in American Cinema

2191:

nominally connected again, when he was called on to help rescue

571:, Ray directed and supervised radio propaganda programs for the 7312: 3677:; rough cut premiered in 1973, final version premiered in 2006 2918:

A Personal Journey with Martin Scorsese Through American Movies

2887:(1980), includes a scene set in the St. Mark's Cinema, where a 2434: 2352: 1830:. He had envisioned using split-screen techniques as early as 1699: 1381: 259: 39: 6212:. Albany: State University of New York Press. pp. 69–71. 4098:

Cahiers du Cinéma: The 1950s. Neo-realism, Hollywood, New Wave

1238:'s life of Christ as a replacement for the original director, 1234:

Now largely based in Europe, Ray signed on to direct producer

1077:

as the legendary bandit, and Presley had made his first film,

5358: 5172:, 89 (November); trans. as "Interview with Nicholas Ray," in 2235:, which protested against the hearings; and Ray's old friend 1845:, for example, has referred to the "vibrant color-coding" of 1631:. Ray's film was included in the 2011 DVD/Blu-ray release of 1194: 925:(1955). The former, made at Republic, was a Western starring 443: 378: 7223: 6544:. Lanham, MD: Scarecrow Press, p. 151. ISBN 978-0810837669 1997:, and others of more marginalised categories—the rodeo film 7785: 7319: 6725:

Truffaut, François. (February 13–19, 1957). "Nick Ray dans

5976:

Ray on Ray: A Daughter's Take on the Legend of Nicholas Ray

4878:"To the Viewer: On Nicholas Ray's 'We Can't Go Home Again'" 4579:

Walsh, Moira (October 21, 1961). "Christ or Credit Card?".

2422: 2206: 1469: 5935:. Berkeley: University of California Press. pp. xxv. 4137:

Nicholas Ray: The Glorious Failure of an American Director

3951:

Planetarium employee, seen in last shot, under end titles

2915:(1956). He used clips from two of them in his documentary 1673:. The film was completed after Ray's death, in June 1979. 1187:, which started production with only a handful of pages — 1053:

at Twentieth Century-Fox by the film's star and producer,

415:. A popular but erratic student prone to delinquency and 5191:

V. F. Perkins on Movies: Collected Shorter Film Criticism

2969:(which were the last spoken words in Ray's biblical epic 653: 395:, "... there is cinema. And the cinema is Nicholas Ray." 5062:

The American Cinema: Directors and Directions, 1929–1968

4418:

Eisenschitz, pp. 123–25; McGilligan, pp. 167–70, 210–11.

3893:

Directed an extra scene after filming that was not used

2983:) and the expressionistic use of colour in his own film 2927:

wrote reviews of several Ray films for the Paris weekly

2704:

On April 11, 1978, Ray underwent additional surgery, at

1886:), which he did, strategically, in several sequences of 6160:

Susan Ray, "The Autobiography of Nicholas Ray," in Ray

5978:. New York: Three Rooms Press. pp. 22–25, 105–07. 5168:

Bitsch, Charles (1958), "Entretien avec Nicholas Ray."

2437:, placing Ray and his son amid the political uprising. 2155:'s house, among them Judith Tuvim, soon to be known as 1127:(1958), which harked back to Ray's youth in Chicago, a 910:, as well as others that resisted easy categorization. 6965:

at Senses of Cinema: Great Directors Critical Database

4823:

I'm a Stranger Here Myself: A Portrait of Nicholas Ray

2605:. The purpose was a retrospective of his films at the 2132:. There, Ray met Connie Ernst, the daughter of lawyer 1865:, he says, green was "sinister and jealous," while in 1566:

I'm A Stranger Here Myself: A Portrait of Nicholas Ray

1209:, and the 1933 film based on one of Freuchen's books, 1134:

drama that included musical numbers performed by star

902:. He made films in conventionalized genres, including 10531:

People of the United States Office of War Information

5263:

Perkins, V. F. (1963). "The Cinema of Nicholas Ray,"

1772:

including Woody Guthrie, Lead Belly, Pete Seeger and

1604:, where his teaching assistant was graduate student 1450:, and, announced in spring 1966, it was to star the 980:, who holds captive a stranded traveller, played by 851:

had concocted to weed out Communists at the studio.

841:

In January 1949, Ray was announced as set to direct

583:. In the summer of 1942 Ray was investigated by the 9222:

A Sunday Afternoon on the Island of La Grande Jatte

6876: 5713:, University of California Press, 1995, page xliii. 5252:

https://jonathanrosenbaum.net/2021/09/party-girl-2/

4436:Truffaut, François (1955). "Le Film de la semaine: 595:." Though Hoover's scheme was later quashed by the 435:) while also hanging around a local stock theater. 319:, which was unfinished at the time of Ray's death. 7028: 6878: 5560:Eisenschitz, pp. 64–66, 71–72; McGilligan, p. 103. 5016:. Harvard Film Studies. Harvard University Press. 4487: 4163: 4158: 4156: 1371:. In late 1963, in Paris, he worked with novelist 1266:, Ray's collaborator on several projects, back to 520:, and some who became friends for life, including 4957: 4092:Godard, Jean-Luc (1958). "Au-dela des étoiles," 1389:European sojourn to come anywhere near fruition. 954:, Ray was asked to take on a television film for 656:, and took Ray on as his collaborator. They cast 10477: 5933:I Was Interrupted: Nicholas Ray on Making Movies 5795:Eisenschitz, pp. 192–93; McGilligan, pp. 241–42. 5711:I Was Interrupted: Nicholas Ray on Making Movies 1611:Ray directed two short films in the 1970s. One, 1282:observes: "Accounts of Ray during the making of 1047:In 1956, Ray was chosen to direct the melodrama 1004:in what proved to be his most famous role. When 984:, in the jungle, forcing him to read aloud from 890:After leaving RKO, Ray signed with a new agent, 612:Returning east, Ray directed his first and only 6810:Comolli, Jean-Louis (1963). ""Ray, Nicholas"". 4829:. Criterion Collection DVD/Blu-ray 810. (2016). 4514:Dennis Hopper on Nicholas Ray (1997) on YouTube 4490:"The Essentials: 5 Great Films By Nicholas Ray" 4153: 2931:in the 1950s, some later adapted for his book, 685:was reviewed (under one of its working titles, 411:, also the home town of future fellow director 2820:(1967) a young Maoist defends the politics of 2732:his parents. His grave bears no inscription. 2172:, he became involved with the film's co-star, 1454:. According to Cooper, the Stones' US manager 1434:for a new, major Nicholas Ray film dissolved. 540:. In 1940–41, Lomax produced and Ray directed 322:During his lifetime, Ray was nominated for an 7239: 7014: 6990:with Kathryn Bigelow and Sarah Fatima Parsons 6742:Truffaut, François. (February 20–26, 1957). " 6598:"Jim Jarmusch on Nicholas Ray for FilmStruck" 5130:Deutsch and Shaw, "Citizen Nick," pp. 109–21. 5087:Acting: A Handbook of the Stanislavski Method 4395:Brog. (June 30, 1948). "'The Twisted Road'". 4206:"Nicholas Ray | American author and director" 2259:— with whom he was planning a suspense film, 2255:, who were roommates at the time, as well as 1747:, for example, Ray started rehearsals with a 10154: 10143: 7344: 7333: 7287: 7276: 6482:Nicholas Ray — University of Minnesota Press 5831:Eisenschitz, p. 247; McGilligan, pp. 285–88. 5722:Eisenschitz, p. 172; McGilligan, pp. 212–13. 5622:McGilligan, pp. 180–81; Eisenschitz, p. 144. 4846:DVD/Blu-ray. Oscilloscope Films 39. (2012). 4762: 4760: 4758: 2506:, Dennis Hopper invited Ray to his house in 2410:. He recovered sufficiently to travel on to 10496:Deaths from lung cancer in New York (state) 7415: 6857: 6492: 6289: 5595:Eisenschitz, p. 80; McGilligan, pp. 109–10. 5009: 4865:WE CAN’T GO HOME AGAIN - Festival de Cannes 4109: 2552:) added to alcohol and creativity as fuel. 1205:, Ray also drew on the writing of explorer 504:While negotiating with Wright, Ray visited 7246: 7232: 7021: 7007: 6624:"Jim Jarmusch Extended Interview." (2011) 6542:An Open Window: The Cinema of Victor Erice 6077: 5293:Perkins, "The Cinema of Nicholas Ray," in 5084: 4139:. New York: HarperCollins. pp. 3–14. 4134: 2536:his Chateau Marmont bungalow while making 2521:State University of New York at Binghamton 2317:, whom he tested for the role Wood won in 356:(1960). Three of his films were ranked by 313:work produced throughout the 1970s titled 279:produced between 1947 and 1963, including 38: 6708:Truffaut, François. (January 16, 1957). " 6691:Truffaut, François. (April 4–10, 1956). " 6637: 6204: 5569: 4986: 4838:Ray, Susan (director, producer, writer). 4755: 4065:"Nicholas Ray. Hollywood's Last Romantic" 2995: 2597:(1974), a softcore anthology produced by 861:House Committee on Un-American Activities 324:Academy Award for Best Adapted Screenplay 6877:Frascella, Lawrence; Weisel, Al (2005). 6784: 6759: 6626:Nicholas Ray's "We Can't Go Home Again." 6369:Ray, "The Autobiography," pp. xxxiii–iv. 5683: 5551:McGilligan, pp. 76–79, 84–87, 90–91, 98. 5185:Perkins, V. F. (1960). "Nicholas Ray," 5142: 4958:Wenders, Wim; Sievernich, Chris (1981). 4453: 2646:meetings, and he and Susan moved into a 2231:star Bogart was a charter member of the 1663:, and directing and acting a scene with 1325: 1247:enough to control. Perhaps predictably, 579:broadcasting service under the aegis of 398: 6809: 6640:"Conversation with Jim Jarmusch (2001)" 6638:Rosenbaum, Jonathan (August 12, 2022). 5875: 5684:Zacharek, Stephanie (January 8, 2006). 5532: 5064:. New York: E. P. Dutton. p. 107. 2489:During the trial, Chicago Seven lawyer 1693: 1667:(then married to Wenders), inspired by 573:United States Office of War Information 524:. He was subsequently employed by the 10478: 6899: 6764:. Paris: Flammarion. pp. 168–75. 6620: 6618: 6591: 6589: 6587: 6517: 5858:Englander, Roger (producer, director) 5740: 5570:Eggertsen, Chris (December 18, 2019). 5059: 4114:. London: Faber and Faber. p. 3. 3901: 2706:Memorial Sloan-Kettering Cancer Center 2697:(1979). Where he had looked robust in 1615:, was a segment of the feature-length 1147:(1957), a World War II drama starring 976:," about an illiterate man, played by 10080:Six Characters in Search of an Author 7227: 7002: 6595: 6447:"Nicholas Ray, 67, Director of Films" 6444: 6290:Corr, Eugene; Gessner, Peter (1974). 6020: 5866:(2010). Criterion Collection DVD 507. 5860:Camera Three: Profile of Nicholas Ray 5138: 5136: 4982: 4980: 4978: 4962:. Frankfurt am Main: Zweitausendeins. 4939:, ed. Rybin and Scheibel. pp. 256–58. 4578: 4394: 2559:(alluding to the character Plato, in 1834:, and proposed, unsuccessfully, that 1766: 265:His best-known work is the 1955 film 10536:La Crosse Central High School alumni 6493:Erice, Victor; Oliver, Jos. (1986). 6195:Ray, "The Autobiography," p. xxviii. 5036: 4488:The Playlist Staff (June 15, 2012). 4088: 4086: 4059: 4057: 4055: 2442:Moratorium to End the War in Vietnam 2342:Some biographers state that Ray was 2279:(which featured her brother-in-law, 2265:, in 1952, and who later starred in 1894:, and other of his Hollywood films. 1538:, producer of the hit stage musical 1067:, a remake of the 1939 Fox release, 6615: 6584: 5973: 5930: 4875: 3740:film; co-directed with Wim Wenders 3520:Fired during filming / Technicolor 2752:. Erice was also interviewed about 2523:. The event he presented convinced 883:(1980) to be shot, Ray talks about 838:as a San Francisco social climber. 13: 9282:Nude Descending a Staircase, No. 2 6851: 6596:McGee, Scott (November 13, 2018). 6520:"The Quiet Genius of Victor Erice" 6445:Clark, Alfred E. (June 18, 1979). 5145:"The Strange Case of Nicholas Ray" 5133: 4975: 4669:“'Doktor Rej i đavoli' je legenda“ 3864:after he was fired during filming 2824:to his anti-American colleagues. 2297:, his headquarters while shooting 1482:Go Where You Want, Die As You Must 736:as a thief and his newlywed wife, 724:Almost an impressionistic take on 721:, were released before his first. 438:With strong grades in English and 16:American film director (1911–1979) 14: 10572: 10561:20th-century American LGBT people 10511:People from Galesville, Wisconsin 10501:American people of German descent 6938: 6860:Nicholas Ray: An American Journey 6078:Wisniewski, John (June 8, 2021). 6023:"Nicca Ray's Coming-of-Age Story" 5233:: The First Existential Western," 4987:Rosenbaum, Jonathan (July 2002). 4644:"Dr. Barrington Cooper: Obituary" 4112:Nicholas Ray: An American Journey 4083: 4052: 3622:Technicolor, Super-Technirama 70 3589:Technicolor, Super-Technirama 70 2233:Committee for the First Amendment 1219:, in the brutal cold of northern 460:University of Wisconsin–La Crosse 10506:People from La Crosse, Wisconsin 10462: 10461: 6987:Nicholas Ray: The Last Interview 6836: 6833:Eisenschitz, pp. 174–75, 210–11. 6827: 6818: 6803: 6778: 6753: 6736: 6719: 6702: 6685: 6668: 6657: 6631: 6573: 6556: 6547: 6534: 6511: 6486: 6475: 6466: 6438: 6425: 6416: 6407: 6398: 6385: 6372: 6363: 6354: 6345: 6332: 6319: 6306: 6283: 6274: 6265: 6252: 6239: 6226: 6198: 6189: 6176: 6167: 6154: 6142: 6133: 6124: 6115: 6106: 6097: 6071: 6058: 6049: 6040: 6014: 6005: 5992: 5967: 5958: 5949: 5924: 5915: 5906: 5897: 5888: 5869: 5852: 5843: 5834: 5825: 5816: 5798: 5789: 5780: 5771: 5762: 5753: 5734: 5725: 5716: 5703: 5677: 5668: 5659: 5650: 5625: 5616: 5607: 5598: 5589: 5563: 5554: 5545: 5526: 5517: 5508: 5499: 5490: 5481: 5472: 5459: 5446: 5254:. Retrieved September 30, 2021. 5037:Lane, Anthony (March 24, 2003). 4960:Nick's Film/Lightning Over Water 4444:504 (February 23–March 1), p. 5. 2806:(1963), the character played by 2016: 941:of Westerns, a Western dream.") 820:While at RKO, Ray also directed 389:famously writing in a review of 203: 176: 147: 6628:Oscilloscope Blu-ray BD-OSC 39. 6292:"Cine Manifest: A Self History" 5437: 5428: 5419: 5410: 5401: 5392: 5383: 5374: 5349: 5340: 5331: 5322: 5313: 5300: 5287: 5274: 5257: 5236: 5223: 5214: 5205: 5196: 5179: 5162: 5124: 5115: 5106: 5093: 5089:. New York: Crown. p. 146. 5078: 5053: 5030: 5003: 4966: 4951: 4942: 4937:Lonely Places, Dangerous Ground 4929: 4920: 4901: 4892: 4869: 4858: 4849: 4832: 4815: 4806: 4797: 4746: 4737: 4728: 4719: 4710: 4701: 4692: 4683: 4674: 4662: 4636: 4627: 4618: 4609: 4600: 4591: 4572: 4563: 4554: 4545: 4536: 4527: 4518: 4507: 4481: 4472: 4447: 4430: 4421: 4412: 4403: 4388: 4379: 4370: 4345: 4336: 4318: 4288: 4275: 4250: 2669:Lee Strasberg Theatre Institute 2574:, in order to screen it at the 1906:, within the film noir cycle: 1849:, and the "delirious color" of 1807: 1321: 223: 199: 172: 143: 10551:Federal Theatre Project people 10516:Western (genre) film directors 10229:Grosvenor School of Modern Art 10222:Fourth dimension in literature 6553:Krohn, "The Class," pp.261–63. 6182:Eisenschitz, pp. 423–27; Ray, 5741:Barnes, Mike (July 20, 2018). 5229:Rosenbaum, Jonathan (2016). " 4333:. Retrieved February 23, 2020. 4241: 4232: 4223: 4198: 4128: 4103: 2834:(1967). Referring to Ray and 2289:was placed reasonably well on 2038:taken Ray to his first movie, 1579:together. An early version of 1345:He attempted an adaptation of 866:His final film at the studio, 847:, a litmus test that RKO head 1: 10526:Film directors from Wisconsin 10521:Binghamton University faculty 7253: 7147:The True Story of Jesse James 6858:Eisenschitz, Bernard (1993). 6746:: Intélligent et difficile." 5862:. (April 17, 1977). CBS-TV. 5822:Eisenschitz, pp. 231, 235–36. 5242:Rosenbaum, Jonathan (1988). " 4972:Eisenschitz, pp. 472–74, 486. 4110:Eisenschitz, Bernard (1993). 4045: 3750: 3746: 3434:The True Story of Jesse James 3004: 2810:claims to have written Ray's 1939:The True Story of Jesse James 1836:The True Story of Jesse James 1649:(1977). Their collaboration, 1592:the most viable of which was 1064:The True Story of Jesse James 824:, co-starring his wife-to-be 530:Works Progress Administration 456:La Crosse Central High School 275:. He is appreciated for many 10546:American LGBT film directors 6021:Myers, Marc (June 2, 2020). 5709:Nicholas Ray and Susan Ray, 5665:McGilligan, pp. 188–89, 193. 5434:Eisenschitz, pp. 13, 493–94. 5174:Cahiers du cinéma: The 1950s 5013:Cahiers du Cinéma, The 1950s 4258:"New Deal Cultural Programs" 4135:McGilligan, Patrick (2011). 3574:, Joseph Janni-Appia Films, 2735: 2544:and harder drugs (including 1393:was a screenplay written by 677: 427:and immersed himself in the 252:Raymond Nicholas Kienzle Jr. 54:Raymond Nicholas Kienzle Jr. 7: 10322:List of avant-garde artists 9306:The Cabinet of Dr. Caligari 6785:Truffaut, François (1978). 6760:Truffaut, François (1975). 6564:In a Lonely Place—Revisited 5319:Krohn, "The Class," p. 257. 5250:, February 1; reprinted at 5143:Rafferty, Terrence (2014). 4454:Truffaut, François (1978). 4170:. JHU Press. 2004. p. 3638:Samuel Bronston Productions 3605:Samuel Bronston Productions 3457:De Luxe Color, CinemaScope 3424:De Luxe Color, CinemaScope 2510:, where Hopper was editing 1087:, leaving contract players 532:. He befriended folklorist 10: 10577: 10180:Classical Hollywood cinema 7163:Wind Across the Everglades 6011:Eisenschitz, pp. 362, 377. 4812:Eisenschitz, pp. 440, 445. 4707:Eisenschitz, pp. 394, 403. 3501:Wind Across the Everglades 2966:Until the End of the World 2955:I'm a Stranger Here Myself 2570:Ray's goal was to work on 2058:La Crosse Teachers College 2011:Wind Across the Everglades 2001:, the ethnographic dramas 1114:Wind Across the Everglades 567:During the early years of 18: 10443: 10121: 9962: 9830: 9670: 9426: 9415: 9258:Les Demoiselles d'Avignon 9212: 9038: 8598: 8081: 8072: 7949: 7733: 7475: 7466: 7261: 7037: 6902:The Films of Nicholas Ray 5010:Jim Hillier, ed. (1986). 4876:Ray, Susan (March 2013). 4743:Eisenschitz, pp. 404–406. 4680:Eisenschitz, pp. 394–400. 3395:Technicolor, CinemaScope 3232:Hard, Fast, and Beautiful 2593:, for the feature-length 2126:Office of War Information 1721: 1391:The Doctor and the Devils 974:The Man Who Liked Dickens 234: 122: 114: 94: 75: 49: 37: 30: 8043:The Master and Margarita 6495:Nicholas Ray y su tiempo 6404:Eisenschitz, pp. 473–76. 6360:Eisenschitz, pp. 461–72. 6351:Eisenschitz, pp. 458–61. 6280:Eisenschitz, pp. 449–53. 6271:Eisenschitz, pp. 444–46. 6173:Eisenschitz, pp. 423–44. 6121:Eisenschitz, pp. 410–14. 6055:Eisenschitz, pp. 390–92. 5964:Eisenschitz, pp. 188–89. 5849:EIsenschitz, pp. 267–68. 5786:McGilligan, pp. 239–241. 5674:McGilligan, pp. 198–200. 5656:Eisenschitz, pp. 150–51. 4948:Eisenschitz, pp. 477–87. 4898:Eisenschitz, pp. 458–59. 4752:Eisenschitz, pp. 408–22. 4734:Eisenschitz, pp. 403–04. 4698:Eisenschitz, pp. 400–01. 4633:Eisenschitz, pp. 390–94. 4569:Eisenschitz, pp. 360–75. 4542:Eisenschitz, pp. 308–11. 4524:Eisenschitz, pp. 283–84. 4478:Eisenschitz, pp. 220–28. 3928:A Tree Grows in Brooklyn 3479:, Transcontinental Films 3000: 2750:Nicholas Ray y su tiempo 2452:, Illinois chair of the 1897: 1841:Ray uses color boldly — 1676: 1544:. Shooting material for 989:happen. But it didn't." 606:A Tree Grows in Brooklyn 591:personally recommended " 19:Not to be confused with 10329:List of modernist poets 10215:Fourth dimension in art 9398:Meshes of the Afternoon 6994:Nicholas Ray Foundation 6922:Sancar Seckiner's book 6562:Hauff, Meg (producer). 6151:, dir: Susan Ray, 2011. 6139:McGilligan, pp. 465–66. 5955:McGilligan, pp. 353–54. 5912:McGilligan, pp. 332–34. 5806:"1954 Boxoffice Champs" 5496:Eisenschitz, pp. 16–17. 5407:Eisenschitz, pp. 13–14. 5295:V. F. Perkins on Movies 5269:V. F. Perkins on Movies 5267:, 11 (July/August), in 5112:McGilligan, pp. 176–77. 5060:Sarris, Andrew (1968). 4689:McGilligan, pp. 445–49. 4615:Eisenschitz, p. 386–87. 4533:McGilligan, pp. 314–16. 4385:McGilligan, pp. 114–15. 4376:Eisenschitz, pp, 82–83. 4330:Encyclopedia Britannica 4247:Eisenschitz, pp. 22–25. 4210:Encyclopedia Britannica 3314:Pine-Thomas Productions 3251:Wald-Krasna Productions 2776:wrote in his review of 1681:Ray was diagnosed with 1598:Lee Strasberg Institute 1367:, by the Polish writer 1363:. He optioned a novel, 1102:Warner's commitment to 526:Federal Theatre Project 499:Spring Green, Wisconsin 10413:Second Viennese School 10155: 10144: 8055:The Sound and the Fury 7959:In Search of Lost Time 7416: 7345: 7334: 7288: 7277: 7203:We Can't Go Home Again 6973:We Can't Go Home Again 6969:Photos of Nicholas Ray 6906:British Film Institute 6900:Andrew, Geoff (2004). 6518:Andrew, Geoff (2004). 6262:, pp. 67, 99–100, 116. 5931:Ray, Nicholas (1995). 5487:McGilligan, pp. 32–33. 5478:McGilligan, pp. 24–27. 5416:McGilligan, pp. 11–12. 5176:, ed. Hillier, p. 121. 4844:We Can't Go Home Again 4238:McGilligan, pp. 32–44. 4229:McGilligan, pp. 28–32. 4193:nicholas ray bisexual. 4005:segment "The Janitor" 3982:We Can't Go Home Again 3874:Androcles and the Lion 3694:Segment "The Janitor" 3665:We Can't Go Home Again 2996:Filmography (director) 2894:Only Lovers Left Alive 2780:: "There was theatre ( 2754:We Can't Go Home Again 2603:San Francisco Bay Area 2572:We Can't Go Home Again 2565:We Can't Go Home Again 2471:, as the trial judge, 2391:Androcles and the Lion 2117:, core members of the 1828:We Can't Go Home Again 1655:(1980), also known as 1633:We Can't Go Home Again 1581:We Can't Go Home Again 1558:We Can't Go Home Again 1512:Stéphane Tchalgadjieff 1462:Only Lovers Left Alive 1443:Only Lovers Left Alive 1335: 964:was an adaptation, by 709:(1949), a loan-out to 542:Back Where I Come From 316:We Can't Go Home Again 309:(1961), as well as an 10541:American bisexual men 10392:Reactionary modernism 10315:List of art movements 7123:Rebel Without a Cause 6971:during the making of 6862:. Faber & Faber. 6712:: La Joie de vivre." 6149:Don't Expect Too Much 5533:Kashner, Sam (2005). 5328:Eisenschitz, pp. 3–4. 4916:: 3. August 11, 1976. 4840:Don't Expect Too Much 4357:norman.hrc.utexas.edu 3946:Rebel Without a Cause 3827:Directed some scenes 3507:Schulberg Productions 3340:Rebel Without a Cause 2981:Rebel Without a Cause 2909:Rebel Without a Cause 2768:Rebel Without a Cause 2758:Don't Expect Too Much 2756:for the documentary, 2563:) and finally titled 2561:Rebel Without A Cause 2538:Rebel Without A Cause 2406:, suffering from the 2348:Rebel Without a Cause 2332:Rebel Without A Cause 2299:Rebel Without A Cause 2049:Robert A. Waller High 2041:The Birth of a Nation 1971:Rebel Without A Cause 1859:Rebel Without a Cause 1832:Rebel Without a Cause 1786:Rebel Without a Cause 1570:Don't Expect Too Much 1514:to raise funding for 1448:Rebel Without A Cause 1352:The Lady From the Sea 1329: 1304:. He was replaced by 1104:Rebel Without a Cause 1073:. Ray wanted to cast 1025:Rebel Without a Cause 1011:Rebel Without a Cause 998:Rebel Without a Cause 922:Rebel Without a Cause 844:I Married a Communist 464:University of Chicago 405:Galesville, Wisconsin 399:Early life and career 328:Rebel Without a Cause 268:Rebel Without a Cause 68:Galesville, Wisconsin 10236:Hanshinkan Modernism 10092:The Threepenny Opera 10008:Pelléas et Mélisande 7211:Lightning Over Water 7179:The Savage Innocents 6824:Eisenschitz, p. 157. 6787:The Films of My Life 6422:Eisenschitz, p. 486. 6130:Eisenschitz, p. 419. 6112:Eisenschitz, p. 404. 6103:Eisenschitz, p. 403. 5840:Eisenschitz, p. 267. 5768:Eisenschitz, p. 124. 5731:Eisenschitz, p. 192. 5613:Eisenschitz, p. 109. 5604:Eisenschitz, p. 108. 5541:. Vol. (March). 5220:Eisenschitz, p. 284. 5211:Eisenschitz, p. 239. 5202:Eisenschitz, p. 433. 5121:Eisenschitz, p. 156. 4926:Eisenschitz, p. 451. 4908:"Nick Ray 'Blues'". 4855:Eisenschitz, p. 446. 4803:Eisenschitz, p. 430. 4774:Simon & Schuster 4769:Live Fast, Die Young 4725:Eisenschitz, p. 402. 4716:McGilligan, pp. 452. 4606:Eisenschitz, p. 384. 4597:Eisenschitz, p. 379. 4560:Eisenschitz, 348–59. 4551:Eisenschitz, p. 179. 4456:The Films in My Life 4427:Eisenschitz, p. 479. 4069:Harvard Film Archive 3723:Lightning Over Water 3566:The Savage Innocents 2989:Lightning Over Water 2975:) to the casting of 2937:The Films of My Life 2889:The Savage Innocents 2722:Lightning Over Water 2677:The Story of Bill W. 2644:Alcoholics Anonymous 2607:Pacific Film Archive 2576:Cannes Film Festival 2467:or the long-retired 2138:The Voice of America 2136:, and a producer of 2007:The Savage Innocents 1694:Directing techniques 1652:Lightning Over Water 1585:Cannes Film Festival 1425:, who declined, and 1375:on a Western titled 1190:The Savage Innocents 1021:for social misfits. 939:Beauty and the Beast 931:Mercedes McCambridge 880:Lightning Over Water 470:, then a professor. 423:, where he attended 409:La Crosse, Wisconsin 353:The Savage Innocents 256:Harvard Film Archive 202: 1958; 175: 1948; 146: 1936; 10294:International Style 10044:Afternoon of a Faun 9330:Battleship Potemkin 9234:Mont Sainte-Victoir 7091:On Dangerous Ground 7083:Flying Leathernecks 6762:Les Films de ma vie 6472:McGilligan, p. 492. 6413:McGilligan, p. 490. 6046:McGilligan, p. 384. 6027:Wall Street Journal 5974:Ray, Nicca (2020). 5921:McGilligan, p. 343. 5903:McGilligan, p. 321. 5894:McGilligan, p. 320. 5777:McGilligan, p. 239. 5759:McGilligan, p. 210. 5535:"Dangerous Talents" 5389:Eisenschitz, p. 12. 5355:Eisenschitz, p. 10. 4821:Helpern, David Jr. 4776:. October 4, 2005. 4671:;B92, March 3, 2012 4624:McGilligan, p. 437. 4015:The American Friend 3902:Filmography (actor) 3862:Josef von Sternberg 3536:Metro-Goldwyn-Mayer 3516:Christopher Plummer 3477:Laffont Productions 3209:On Dangerous Ground 3178:Flying Leathernecks 3128:Santana Productions 3068:Santana Productions 2985:The American Friend 2939:). He asserts that 2933:Les Films de ma vie 2838:, Godard dedicated 2699:The American Friend 2673:New York University 2664:The American Friend 2638:, which Ray titled 2557:Gun Under My Pillow 2454:Black Panther Party 2199:Josef von Sternberg 2184:On Dangerous Ground 2075:, a 1924 comedy by 1959:Flying Leathernecks 1955:World War II dramas 1920:social problem film 1916:On Dangerous Ground 1761:On Dangerous Ground 1646:The American Friend 1602:New York University 1377:Under Western Skies 1359:in mind, and later 1280:Bernard Eisenschitz 1229:process photography 810:On Dangerous Ground 715:Santana Productions 649:Sorry, Wrong Number 646:'s radio thriller, 593:Custodial Detention 558:Golden Gate Quartet 484:Communist Party USA 364:Annual Top 10 Lists 133:Jean (Abrams) Evans 10173:Buddhist modernism 10130:American modernism 10056:The Rite of Spring 8031:The Sun Also Rises 8007:The Magic Mountain 7043:They Live by Night 7029:Films directed by 6814:. 150–151: 157–58. 6744:Derrière le miroir 6727:Derrière le miroir 6695:de Nicholas Ray." 6693:La Fureur de vivre 6678:de Nicholas Ray." 6644:Jonathan Rosenbaum 6452:The New York Times 6260:Binghamton Babylon 6247:Binghamton Babylon 6234:Binghamton Babylon 5812:. January 5, 1955. 5747:Hollywood Reporter 5690:The New York Times 5523:McGilligan, p. 71. 5514:McGilligan, p. 68. 5505:McGilligan, p. 37. 5443:McGilligan, 15–20. 5425:McGilligan, p. 10. 5398:Eisenschitz, p. 1. 5346:Eisenschitz, p. 8. 5189:, 40, June 14, in 4440:de Nicholas Ray," 3782:Samuel Goldwyn Co. 3030:They Live by Night 2942:They Live by Night 2884:Permanent Vacation 2431:They Live By Night 2362:They Live By Night 2197:(1952), a project 2095:Frank Lloyd Wright 1908:They Live By Night 1888:They Live By Night 1843:Jonathan Rosenbaum 1782:They Live By Night 1767:Themes and stories 1629:Curtis Bill Pepper 1621:Dreams of Thirteen 1504:Jean-Pierre Bastid 1496:Universal Pictures 1491:Mord und Totschlag 1486:Volker Schlöndorff 1365:Next Stop—Paradise 1336: 795:They Live By Night 790:The New York Times 738:They Live By Night 683:They Live By Night 667:They Live by Night 601:Molly Day Thatcher 597:Justice Department 493:at Wright's home, 491:Frank Lloyd Wright 480:Patrick McGilligan 425:Waller High School 282:They Live By Night 277:narrative features 10473: 10472: 10201:Experimental film 10117: 10116: 10104:Waiting for Godot 9411: 9410: 8068: 8067: 7971:The Metamorphosis 7221: 7220: 7195:55 Days at Peking 7067:In a Lonely Place 7051:Knock on Any Door 6932:978-605-4579-45-7 6812:Cahiers du cinéma 6568:In A Lonely Place 6219:978-1-4384-5888-5 6162:I Was Interrupted 5985:978-1-941110-87-4 5864:Bigger Than Life. 5467:I Was Interrupted 5454:I Was Interrupted 5380:McGilligan, p. 5. 5369:I Was Interrupted 5337:McGilligan, p. 3. 5308:I Was Interrupted 5282:I Was Interrupted 5170:Cahiers du cinéma 5101:I Was Interrupted 5039:"Only the Lonely" 4827:In a Lonely Place 4650:. January 5, 2008 4146:978-0-06-073137-3 4094:Cahiers du cinéma 4043: 4042: 3964:55 Days at Peking 3897: 3896: 3744: 3743: 3675:Experimental film 3632:55 Days at Peking 3382:Columbia Pictures 3283:Republic Pictures 3122:In a Lonely Place 3062:Knock on Any Door 2979:(who appeared in 2925:François Truffaut 2872:L.A. Confidential 2866:In a Lonely Place 2533:experimental film 2396:In a Lonely Place 2368:In A Lonely Place 2245:Dorothy Kilgallen 2229:In A Lonely Place 2224:Knock On Any Door 2217:, were among the 2188:In A Lonely Place 2179:In A Lonely Place 2145:In A Lonely Place 2053:La Crosse Central 1987:55 Days at Peking 1923:Knock On Any Door 1912:In A Lonely Place 1892:In A Lonely Place 1879:Terrence Rafferty 1790:In A Lonely Place 1704:Cahiers du cinéma 1583:was shown at the 1419:Geraldine Chaplin 1411:Maximilian Schell 1340:55 Days at Peking 1284:55 Days at Peking 950:(1955), starring 935:François Truffaut 900:Republic Pictures 813:(1951), in which 804:In a Lonely Place 706:Knock On Any Door 421:Chicago, Illinois 377:frame and use of 359:Cahiers du Cinéma 288:In A Lonely Place 245: 244: 115:Years active 10568: 10556:Eyepatch wearers 10465: 10464: 10436: 10434:Vulgar modernism 10429: 10427:Underground film 10422: 10415: 10408: 10401: 10394: 10387: 10380: 10373: 10366: 10359: 10352: 10345: 10338: 10331: 10324: 10317: 10310: 10303: 10296: 10289: 10280: 10273: 10266: 10259: 10252: 10250:Hippie modernism 10245: 10238: 10231: 10224: 10217: 10210: 10203: 10196: 10189: 10182: 10175: 10168: 10166:Bloomsbury Group 10161: 10160: 10150: 10149: 10139: 10132: 10110: 10109: 10098: 10097: 10086: 10085: 10074: 10073: 10062: 10061: 10050: 10049: 10038: 10037: 10026: 10025: 10014: 10013: 10002: 10001: 9990: 9989: 9978: 9977: 9955: 9948: 9941: 9934: 9927: 9920: 9913: 9906: 9899: 9892: 9885: 9878: 9871: 9864: 9857: 9850: 9843: 9823: 9816: 9809: 9802: 9795: 9788: 9781: 9774: 9767: 9760: 9753: 9746: 9739: 9732: 9725: 9718: 9711: 9704: 9697: 9690: 9683: 9663: 9656: 9649: 9642: 9635: 9628: 9621: 9614: 9607: 9600: 9593: 9586: 9579: 9572: 9565: 9558: 9551: 9544: 9537: 9530: 9523: 9516: 9509: 9502: 9495: 9488: 9481: 9474: 9467: 9460: 9453: 9446: 9439: 9424: 9423: 9404: 9403: 9392: 9391: 9380: 9379: 9370: 9369: 9360: 9359: 9354:Un Chien Andalou 9348: 9347: 9336: 9335: 9324: 9323: 9318:Ballet Mécanique 9312: 9311: 9300: 9299: 9288: 9287: 9276: 9275: 9264: 9263: 9252: 9251: 9246:The Starry Night 9240: 9239: 9228: 9227: 9205: 9198: 9191: 9184: 9177: 9170: 9163: 9156: 9149: 9142: 9135: 9128: 9121: 9114: 9107: 9100: 9093: 9086: 9079: 9072: 9065: 9058: 9051: 9031: 9024: 9017: 9010: 9003: 8996: 8989: 8982: 8975: 8968: 8961: 8954: 8947: 8940: 8933: 8926: 8919: 8912: 8905: 8898: 8891: 8884: 8877: 8870: 8863: 8856: 8849: 8842: 8835: 8828: 8821: 8814: 8807: 8800: 8793: 8786: 8779: 8772: 8765: 8758: 8751: 8744: 8737: 8730: 8723: 8716: 8709: 8702: 8695: 8688: 8681: 8674: 8667: 8660: 8653: 8646: 8639: 8632: 8625: 8618: 8611: 8591: 8584: 8577: 8575:Toulouse-Lautrec 8570: 8563: 8556: 8549: 8542: 8535: 8528: 8521: 8514: 8507: 8500: 8493: 8486: 8479: 8472: 8465: 8458: 8451: 8444: 8437: 8430: 8423: 8416: 8409: 8402: 8395: 8388: 8381: 8374: 8367: 8360: 8353: 8346: 8339: 8332: 8325: 8318: 8311: 8304: 8297: 8290: 8283: 8276: 8269: 8262: 8255: 8248: 8241: 8234: 8227: 8220: 8213: 8206: 8199: 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Archived from 4292: 4286: 4279: 4273: 4272: 4270: 4268: 4254: 4248: 4245: 4239: 4236: 4230: 4227: 4221: 4220: 4218: 4216: 4202: 4196: 4195: 4190: 4188: 4169: 4166:Essential Cinema 4160: 4151: 4150: 4132: 4126: 4125: 4107: 4101: 4090: 4081: 4080: 4078: 4076: 4061: 3906: 3905: 3751: 3440:20th Century Fox 3411:20th Century Fox 3405:Bigger Than Life 3090:A Woman's Secret 3005: 2947:Bigger Than Life 2913:Bigger Than Life 2812:Bigger Than Life 2632:Marilyn Chambers 2508:Taos, New Mexico 2491:William Kunstler 2378:Bigger Than Life 2372:Bigger Than Life 2169:A Woman's Secret 2166:While directing 2161:Santa Monica Bay 2069:February Follies 1975:Bigger Than Life 1947:A Woman's Secret 1943:Women's pictures 1867:Bigger Than Life 1802:Bigger Than Life 1708:Alfred Hitchcock 1619:, also known as 1500:Barbet Schroeder 1278:. As biographer 1203:Top of the World 1129:Roaring Twenties 1050:Bigger Than Life 872:(1952), starred 822:A Woman's Secret 758:Bonnie and Clyde 700:A Woman's Secret 687:The Twisted Road 644:Lucille Fletcher 638:, with music by 629:Beggar's Holiday 616:production, the 577:Voice of America 538:vernacular music 510:Great Depression 442:and failures in 403:Ray was born in 337:Bigger Than Life 330:, twice for the 300:Bigger Than Life 227: 225: 207: 205: 201: 180: 178: 174: 151: 149: 145: 82: 63: 61: 42: 28: 27: 10576: 10575: 10571: 10570: 10569: 10567: 10566: 10565: 10476: 10475: 10474: 10469: 10460: 10452: 10439: 10432: 10425: 10420:Structural film 10418: 10411: 10404: 10397: 10390: 10383: 10376: 10371:New Objectivity 10369: 10362: 10357:Neo-romanticism 10355: 10350:Neo-primitivism 10348: 10341: 10334: 10327: 10320: 10313: 10306: 10299: 10292: 10285: 10276: 10269: 10262: 10255: 10248: 10241: 10234: 10227: 10220: 10213: 10206: 10199: 10192: 10185: 10178: 10171: 10164: 10153: 10142: 10135: 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5550: 5546: 5531: 5527: 5522: 5518: 5513: 5509: 5504: 5500: 5495: 5491: 5486: 5482: 5477: 5473: 5464: 5460: 5451: 5447: 5442: 5438: 5433: 5429: 5424: 5420: 5415: 5411: 5406: 5402: 5397: 5393: 5388: 5384: 5379: 5375: 5366: 5359: 5354: 5350: 5345: 5341: 5336: 5332: 5327: 5323: 5318: 5314: 5305: 5301: 5292: 5288: 5279: 5275: 5262: 5258: 5241: 5237: 5228: 5224: 5219: 5215: 5210: 5206: 5201: 5197: 5184: 5180: 5167: 5163: 5153: 5151: 5141: 5134: 5129: 5125: 5120: 5116: 5111: 5107: 5098: 5094: 5083: 5079: 5072: 5058: 5054: 5035: 5031: 5024: 5008: 5004: 4989:"Ray, Nicholas" 4985: 4976: 4971: 4967: 4956: 4952: 4947: 4943: 4934: 4930: 4925: 4921: 4907: 4906: 4902: 4897: 4893: 4874: 4870: 4863: 4859: 4854: 4850: 4837: 4833: 4820: 4816: 4811: 4807: 4802: 4798: 4788: 4786: 4784: 4766: 4765: 4756: 4751: 4747: 4742: 4738: 4733: 4729: 4724: 4720: 4715: 4711: 4706: 4702: 4697: 4693: 4688: 4684: 4679: 4675: 4667: 4663: 4653: 4651: 4642: 4641: 4637: 4632: 4628: 4623: 4619: 4614: 4610: 4605: 4601: 4596: 4592: 4577: 4573: 4568: 4564: 4559: 4555: 4550: 4546: 4541: 4537: 4532: 4528: 4523: 4519: 4512: 4508: 4498: 4496: 4486: 4482: 4477: 4473: 4466: 4452: 4448: 4442:Arts/Spectacles 4435: 4431: 4426: 4422: 4417: 4413: 4408: 4404: 4393: 4389: 4384: 4380: 4375: 4371: 4361: 4359: 4351: 4350: 4346: 4341: 4337: 4323: 4319: 4309: 4307: 4306:on June 4, 2018 4300:hcl.harvard.edu 4294: 4293: 4289: 4280: 4276: 4266: 4264: 4256: 4255: 4251: 4246: 4242: 4237: 4233: 4228: 4224: 4214: 4212: 4204: 4203: 4199: 4186: 4184: 4182: 4162: 4161: 4154: 4147: 4133: 4129: 4122: 4108: 4104: 4091: 4084: 4074: 4072: 4063: 4062: 4053: 4048: 3904: 3860:Took over from 3749: 3643:Charlton Heston 3572:Gray Film-Pathé 3468: 3292:Sterling Hayden 3133:Humphrey Bogart 3073:Humphrey Bogart 3049:Howard da Silva 3041:Cathy O'Donnell 3003: 2998: 2929:Arts/Spectacles 2901:Martin Scorsese 2854:Ici et ailleurs 2774:Jean-Luc Godard 2738: 2615:Francis Coppola 2587:Sterling Hayden 2583:Françoise Sagan 2315:Jayne Mansfield 2295:Chateau Marmont 2249:Shelley Winters 2134:Morris L. Ernst 2119:Almanac Singers 2115:Millard Lampell 2088:Thornton Wilder 2051:, returning to 2024:Louis Armstrong 2019: 1979:Epic spectacles 1900: 1884:180-degree rule 1810: 1769: 1724: 1696: 1679: 1324: 1289:Charlton Heston 1276:Boxer Rebellion 1236:Samuel Bronston 996:, Ray directed 966:Charles Jackson 962:High Green Wall 937:called it "the 782:Thieves Like Us 763:Terrence Malick 743:Joseph H. Lewis 734:Cathy O'Donnell 711:Humphrey Bogart 693:'s takeover of 680: 658:Mildred Natwick 589:J. Edgar Hoover 468:Thornton Wilder 440:public speaking 401: 387:Jean-Luc Godard 383:French New Wave 230: 229: 226: 1971) 221: 217: 209: 206: 1970) 197: 193: 190: 182: 179: 1952) 170: 166: 163: 153: 150: 1942) 141: 137: 134: 110: 90: 84: 80: 71: 65: 59: 57: 56: 55: 45: 33: 24: 17: 12: 11: 5: 10574: 10564: 10563: 10558: 10553: 10548: 10543: 10538: 10533: 10528: 10523: 10518: 10513: 10508: 10503: 10498: 10493: 10488: 10471: 10470: 10453: 10445: 10444: 10441: 10440: 10438: 10437: 10430: 10423: 10416: 10409: 10402: 10395: 10388: 10381: 10378:Poetic realism 10374: 10367: 10360: 10353: 10346: 10339: 10332: 10325: 10318: 10311: 10308:Late modernity 10304: 10301:Late modernism 10297: 10290: 10283: 10282: 10281: 10274: 10267: 10253: 10246: 10243:High modernism 10239: 10232: 10225: 10218: 10211: 10204: 10197: 10190: 10187:Degenerate art 10183: 10176: 10169: 10162: 10157:Ballets Russes 10151: 10140: 10133: 10125: 10123: 10119: 10118: 10115: 10114: 10112: 10111: 10099: 10087: 10075: 10063: 10051: 10039: 10027: 10015: 10003: 9991: 9979: 9966: 9964: 9960: 9959: 9957: 9956: 9949: 9942: 9935: 9928: 9921: 9914: 9907: 9900: 9893: 9886: 9879: 9872: 9865: 9858: 9851: 9844: 9836: 9834: 9828: 9827: 9825: 9824: 9817: 9810: 9803: 9796: 9789: 9782: 9775: 9768: 9761: 9754: 9747: 9740: 9733: 9726: 9719: 9712: 9705: 9698: 9691: 9684: 9676: 9674: 9668: 9667: 9665: 9664: 9657: 9650: 9643: 9636: 9629: 9622: 9615: 9608: 9601: 9594: 9587: 9580: 9573: 9566: 9559: 9552: 9545: 9538: 9531: 9524: 9517: 9510: 9503: 9496: 9489: 9482: 9475: 9468: 9461: 9454: 9447: 9440: 9432: 9430: 9421: 9413: 9412: 9409: 9408: 9406: 9405: 9393: 9381: 9371: 9361: 9349: 9337: 9325: 9313: 9301: 9289: 9277: 9265: 9253: 9241: 9229: 9216: 9214: 9210: 9209: 9207: 9206: 9199: 9192: 9185: 9178: 9171: 9164: 9157: 9150: 9143: 9136: 9129: 9122: 9115: 9108: 9101: 9094: 9087: 9080: 9073: 9066: 9059: 9052: 9044: 9042: 9036: 9035: 9033: 9032: 9025: 9018: 9011: 9004: 8997: 8990: 8983: 8976: 8969: 8962: 8955: 8948: 8941: 8934: 8927: 8920: 8913: 8910:Ray (Satyajit) 8906: 8903:Ray (Nicholas) 8899: 8892: 8885: 8878: 8871: 8864: 8857: 8850: 8843: 8836: 8829: 8822: 8815: 8808: 8801: 8794: 8787: 8780: 8773: 8766: 8759: 8752: 8745: 8738: 8731: 8724: 8717: 8710: 8703: 8696: 8689: 8682: 8675: 8668: 8661: 8654: 8647: 8640: 8633: 8626: 8619: 8612: 8604: 8602: 8596: 8595: 8593: 8592: 8585: 8578: 8571: 8564: 8557: 8550: 8543: 8536: 8529: 8522: 8515: 8508: 8501: 8494: 8487: 8480: 8473: 8466: 8459: 8452: 8445: 8438: 8431: 8424: 8417: 8410: 8403: 8396: 8389: 8382: 8375: 8368: 8361: 8354: 8347: 8340: 8333: 8326: 8319: 8312: 8305: 8298: 8291: 8284: 8277: 8270: 8263: 8256: 8249: 8242: 8235: 8228: 8221: 8214: 8207: 8200: 8193: 8186: 8179: 8172: 8165: 8158: 8151: 8144: 8137: 8130: 8123: 8116: 8109: 8102: 8095: 8087: 8085: 8076: 8070: 8069: 8066: 8065: 8063: 8062: 8050: 8038: 8026: 8014: 8002: 7995:The Waste Land 7990: 7978: 7966: 7953: 7951: 7947: 7946: 7944: 7943: 7936: 7929: 7922: 7915: 7908: 7901: 7894: 7887: 7880: 7873: 7866: 7859: 7852: 7845: 7838: 7831: 7824: 7817: 7810: 7803: 7796: 7789: 7782: 7775: 7768: 7761: 7754: 7747: 7739: 7737: 7731: 7730: 7728: 7727: 7720: 7713: 7706: 7699: 7692: 7685: 7678: 7671: 7664: 7657: 7650: 7643: 7636: 7629: 7622: 7615: 7608: 7601: 7594: 7587: 7580: 7573: 7566: 7559: 7552: 7545: 7538: 7531: 7524: 7517: 7510: 7503: 7496: 7489: 7481: 7479: 7470: 7464: 7463: 7461: 7460: 7453: 7446: 7439: 7432: 7425: 7424: 7423: 7405: 7398: 7391: 7384: 7383: 7382: 7368: 7361: 7360: 7359: 7352: 7341: 7323: 7316: 7309: 7306:Constructivism 7302: 7295: 7284: 7273: 7265: 7263: 7259: 7258: 7251: 7250: 7243: 7236: 7228: 7219: 7218: 7216: 7215: 7207: 7199: 7191: 7183: 7175: 7167: 7159: 7155:Bitter Victory 7151: 7143: 7135: 7127: 7119: 7111: 7103: 7095: 7087: 7079: 7075:Born to Be Bad 7071: 7063: 7055: 7047: 7038: 7035: 7034: 7026: 7025: 7018: 7011: 7003: 6997: 6996: 6991: 6983: 6979:The New Yorker 6975: 6966: 6960: 6951: 6940: 6939:External links 6937: 6936: 6935: 6920: 6914: 6897: 6891: 6885:. Touchstone. 6874: 6868: 6853: 6850: 6847: 6846: 6835: 6826: 6817: 6802: 6795: 6777: 6770: 6752: 6735: 6718: 6701: 6684: 6667: 6656: 6630: 6614: 6583: 6572: 6555: 6546: 6533: 6510: 6503: 6485: 6474: 6465: 6437: 6424: 6415: 6406: 6397: 6384: 6371: 6362: 6353: 6344: 6331: 6318: 6305: 6282: 6273: 6264: 6251: 6238: 6225: 6218: 6197: 6188: 6175: 6166: 6153: 6141: 6132: 6123: 6114: 6105: 6096: 6070: 6057: 6048: 6039: 6013: 6004: 5991: 5984: 5966: 5957: 5948: 5941: 5923: 5914: 5905: 5896: 5887: 5868: 5851: 5842: 5833: 5824: 5815: 5797: 5788: 5779: 5770: 5761: 5752: 5733: 5724: 5715: 5702: 5676: 5667: 5658: 5649: 5624: 5615: 5606: 5597: 5588: 5562: 5553: 5544: 5525: 5516: 5507: 5498: 5489: 5480: 5471: 5458: 5445: 5436: 5427: 5418: 5409: 5400: 5391: 5382: 5373: 5357: 5348: 5339: 5330: 5321: 5312: 5299: 5286: 5273: 5256: 5248:Chicago Reader 5235: 5222: 5213: 5204: 5195: 5187:Oxford Opinion 5178: 5161: 5132: 5123: 5114: 5105: 5092: 5077: 5070: 5052: 5029: 5022: 5002: 4974: 4965: 4950: 4941: 4928: 4919: 4900: 4891: 4868: 4857: 4848: 4831: 4814: 4805: 4796: 4782: 4754: 4745: 4736: 4727: 4718: 4709: 4700: 4691: 4682: 4673: 4661: 4635: 4626: 4617: 4608: 4599: 4590: 4571: 4562: 4553: 4544: 4535: 4526: 4517: 4506: 4480: 4471: 4464: 4446: 4429: 4420: 4411: 4402: 4387: 4378: 4369: 4344: 4335: 4317: 4287: 4274: 4249: 4240: 4231: 4222: 4197: 4180: 4152: 4145: 4127: 4120: 4102: 4082: 4071:. July 9, 2010 4050: 4049: 4047: 4044: 4041: 4040: 4038: 4035: 4028: 4024: 4023: 4021: 4018: 4011: 4007: 4006: 4003: 4000: 3995: 3991: 3990: 3988: 3985: 3978: 3974: 3973: 3970: 3969:US Ambassador 3967: 3960: 3956: 3955: 3952: 3949: 3942: 3938: 3937: 3934: 3931: 3924: 3920: 3919: 3916: 3913: 3910: 3903: 3900: 3895: 3894: 3891: 3882: 3877: 3870: 3866: 3865: 3858: 3856:William Bendix 3848:Robert Mitchum 3845: 3840: 3833: 3829: 3828: 3825: 3819:Robert Mitchum 3816: 3811: 3804: 3800: 3799: 3793: 3787:Farley Granger 3784: 3779: 3776:Roseanna McCoy 3772: 3768: 3767: 3764: 3761: 3760:Production Co. 3758: 3755: 3748: 3745: 3742: 3741: 3730: 3728: 3726: 3719: 3715: 3714: 3709: 3707: 3705: 3700: 3696: 3695: 3692: 3690: 3688: 3683: 3679: 3678: 3672: 3670: 3668: 3661: 3657: 3656: 3653: 3640: 3635: 3628: 3624: 3623: 3620: 3610:Jeffrey Hunter 3607: 3602: 3595: 3591: 3590: 3587: 3578: 3569: 3562: 3558: 3557: 3556:, CinemaScope 3551: 3542: 3533: 3526: 3522: 3521: 3518: 3509: 3504: 3497: 3493: 3492: 3489: 3483:Richard Burton 3480: 3474: 3471:Bitter Victory 3466:Amère victoire 3463: 3459: 3458: 3455: 3453:Jeffrey Hunter 3442: 3437: 3430: 3426: 3425: 3422: 3413: 3408: 3401: 3397: 3396: 3393: 3384: 3379: 3372: 3368: 3367: 3361: 3348: 3343: 3336: 3332: 3331: 3325: 3316: 3311: 3304: 3300: 3299: 3294: 3285: 3280: 3273: 3269: 3268: 3265:Robert Parrish 3262: 3256:Robert Mitchum 3253: 3248: 3241: 3237: 3236: 3226: 3217: 3212: 3205: 3201: 3200: 3195: 3186: 3181: 3174: 3170: 3169: 3167: 3158: 3153: 3150:Born to Be Bad 3146: 3142: 3141: 3139: 3137:Gloria Grahame 3130: 3125: 3118: 3114: 3113: 3111: 3109:Gloria Grahame 3105:Melvyn Douglas 3101:Maureen O'Hara 3098: 3093: 3086: 3082: 3081: 3079: 3070: 3065: 3058: 3054: 3053: 3051: 3045:Farley Granger 3038: 3033: 3026: 3022: 3021: 3018: 3015: 3014:Production Co. 3012: 3009: 3002: 2999: 2997: 2994: 2993: 2992: 2958: 2922: 2898: 2876: 2858: 2808:Michel Piccoli 2778:Bitter Victory 2771: 2737: 2734: 2729:Lincoln Center 2710:László Benedek 2681:cobalt therapy 2671:, and then at 2525:Larry Gottheim 2513:The Last Movie 2477:nicotinic acid 2473:Julius Hoffman 2461:Dustin Hoffman 2383:Bitter Victory 2366:Talking about 2253:Marilyn Monroe 2211:Edward Dmytryk 2174:Gloria Grahame 2077:Cosmo Hamilton 2018: 2015: 1963:Bitter Victory 1951:Born To Be Bad 1899: 1896: 1809: 1806: 1768: 1765: 1745:Born To Be Bad 1723: 1720: 1695: 1692: 1678: 1675: 1554:Harpur College 1536:Michael Butler 1520:The Substitute 1452:Rolling Stones 1403:Burke and Hare 1401:and murderers 1361:Romy Schneider 1357:Ingrid Bergman 1323: 1320: 1270:and including 1207:Peter Freuchen 1166:Bitter Victory 1149:Richard Burton 1144:Bitter Victory 1119:Budd Schulberg 1097:James brothers 1093:Jeffrey Hunter 1080:Love Me Tender 874:Robert Mitchum 831:Born to Be Bad 826:Gloria Grahame 730:Farley Granger 679: 676: 618:Duke Ellington 528:, part of the 400: 397: 392:Bitter Victory 346:(1957), and a 343:Bitter Victory 243: 242: 236: 232: 231: 219: 216:Susan Schwartz 215: 214: 213: 212: 195: 191: 188: 187: 186: 185: 168: 164: 161:Gloria Grahame 159: 158: 157: 156: 139: 135: 132: 131: 130: 129: 126: 124: 120: 119: 116: 112: 111: 109: 108: 105: 102: 98: 96: 92: 91: 85: 83:(aged 67) 77: 73: 72: 66: 64:August 7, 1911 53: 51: 47: 46: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 10573: 10562: 10559: 10557: 10554: 10552: 10549: 10547: 10544: 10542: 10539: 10537: 10534: 10532: 10529: 10527: 10524: 10522: 10519: 10517: 10514: 10512: 10509: 10507: 10504: 10502: 10499: 10497: 10494: 10492: 10489: 10487: 10484: 10483: 10481: 10468: 10458: 10457: 10456:Postmodernism 10451: 10450: 10442: 10435: 10431: 10428: 10424: 10421: 10417: 10414: 10410: 10407: 10403: 10400: 10399:Metamodernism 10396: 10393: 10389: 10386: 10382: 10379: 10375: 10372: 10368: 10365: 10364:New Hollywood 10361: 10358: 10354: 10351: 10347: 10344: 10340: 10337: 10333: 10330: 10326: 10323: 10319: 10316: 10312: 10309: 10305: 10302: 10298: 10295: 10291: 10288: 10284: 10279: 10275: 10272: 10268: 10265: 10261: 10260: 10258: 10257:Impressionism 10254: 10251: 10247: 10244: 10240: 10237: 10233: 10230: 10226: 10223: 10219: 10216: 10212: 10209: 10205: 10202: 10198: 10195: 10191: 10188: 10184: 10181: 10177: 10174: 10170: 10167: 10163: 10159: 10158: 10152: 10148: 10147: 10141: 10138: 10134: 10131: 10127: 10126: 10124: 10120: 10106: 10105: 10100: 10094: 10093: 10088: 10082: 10081: 10076: 10070: 10069: 10064: 10058: 10057: 10052: 10046: 10045: 10040: 10034: 10033: 10028: 10022: 10021: 10016: 10010: 10009: 10004: 9998: 9997: 9992: 9986: 9985: 9980: 9974: 9973: 9968: 9967: 9965: 9961: 9954: 9950: 9947: 9943: 9940: 9936: 9933: 9929: 9926: 9922: 9919: 9915: 9912: 9908: 9905: 9901: 9898: 9894: 9891: 9887: 9884: 9880: 9877: 9873: 9870: 9866: 9863: 9859: 9856: 9852: 9849: 9845: 9842: 9838: 9837: 9835: 9833: 9829: 9822: 9818: 9815: 9811: 9808: 9804: 9801: 9797: 9794: 9790: 9787: 9783: 9780: 9776: 9773: 9769: 9766: 9762: 9759: 9755: 9752: 9748: 9745: 9741: 9738: 9734: 9731: 9727: 9724: 9720: 9717: 9713: 9710: 9706: 9703: 9699: 9696: 9692: 9689: 9685: 9682: 9678: 9677: 9675: 9673: 9669: 9662: 9658: 9655: 9651: 9648: 9644: 9641: 9637: 9634: 9630: 9627: 9623: 9620: 9616: 9613: 9609: 9606: 9602: 9599: 9595: 9592: 9588: 9585: 9581: 9578: 9574: 9571: 9567: 9564: 9560: 9557: 9553: 9550: 9546: 9543: 9539: 9536: 9532: 9529: 9525: 9522: 9518: 9515: 9511: 9508: 9504: 9501: 9497: 9494: 9490: 9487: 9483: 9480: 9476: 9473: 9469: 9466: 9462: 9459: 9455: 9452: 9448: 9445: 9441: 9438: 9434: 9433: 9431: 9429: 9425: 9422: 9420: 9414: 9400: 9399: 9394: 9388: 9387: 9382: 9376: 9372: 9366: 9362: 9356: 9355: 9350: 9344: 9343: 9338: 9332: 9331: 9326: 9320: 9319: 9314: 9308: 9307: 9302: 9296: 9295: 9290: 9284: 9283: 9278: 9272: 9271: 9266: 9260: 9259: 9254: 9248: 9247: 9242: 9236: 9235: 9230: 9224: 9223: 9218: 9217: 9215: 9211: 9204: 9200: 9197: 9193: 9190: 9186: 9183: 9179: 9176: 9172: 9169: 9165: 9162: 9158: 9155: 9151: 9148: 9144: 9141: 9137: 9134: 9130: 9127: 9123: 9120: 9116: 9113: 9109: 9106: 9102: 9099: 9095: 9092: 9091:Hundertwasser 9088: 9085: 9081: 9078: 9074: 9071: 9067: 9064: 9060: 9057: 9053: 9050: 9046: 9045: 9043: 9041: 9037: 9030: 9026: 9023: 9019: 9016: 9012: 9009: 9005: 9002: 8998: 8995: 8991: 8988: 8984: 8981: 8977: 8974: 8970: 8967: 8963: 8960: 8956: 8953: 8949: 8946: 8942: 8939: 8935: 8932: 8928: 8925: 8921: 8918: 8914: 8911: 8907: 8904: 8900: 8897: 8893: 8890: 8886: 8883: 8879: 8876: 8872: 8869: 8865: 8862: 8858: 8855: 8851: 8848: 8844: 8841: 8837: 8834: 8830: 8827: 8823: 8820: 8816: 8813: 8809: 8806: 8802: 8799: 8795: 8792: 8788: 8785: 8781: 8778: 8774: 8771: 8767: 8764: 8760: 8757: 8753: 8750: 8746: 8743: 8739: 8736: 8732: 8729: 8725: 8722: 8718: 8715: 8711: 8708: 8704: 8701: 8697: 8694: 8690: 8687: 8683: 8680: 8676: 8673: 8669: 8666: 8662: 8659: 8655: 8652: 8648: 8645: 8641: 8638: 8634: 8631: 8627: 8624: 8620: 8617: 8613: 8610: 8606: 8605: 8603: 8601: 8597: 8590: 8586: 8583: 8579: 8576: 8572: 8569: 8565: 8562: 8558: 8555: 8551: 8548: 8544: 8541: 8537: 8534: 8530: 8527: 8523: 8520: 8516: 8513: 8509: 8506: 8502: 8499: 8495: 8492: 8488: 8485: 8481: 8478: 8474: 8471: 8467: 8464: 8460: 8457: 8453: 8450: 8446: 8443: 8439: 8436: 8432: 8429: 8425: 8422: 8418: 8415: 8411: 8408: 8404: 8401: 8397: 8394: 8390: 8387: 8383: 8380: 8376: 8373: 8369: 8366: 8362: 8359: 8355: 8352: 8348: 8345: 8341: 8338: 8334: 8331: 8327: 8324: 8320: 8317: 8313: 8310: 8306: 8303: 8299: 8296: 8292: 8289: 8285: 8282: 8278: 8275: 8271: 8268: 8264: 8261: 8257: 8254: 8250: 8247: 8243: 8240: 8236: 8233: 8229: 8226: 8222: 8219: 8215: 8212: 8208: 8205: 8201: 8198: 8194: 8191: 8187: 8184: 8180: 8177: 8173: 8170: 8166: 8163: 8159: 8156: 8152: 8149: 8145: 8142: 8138: 8135: 8131: 8128: 8124: 8121: 8117: 8114: 8110: 8107: 8103: 8100: 8096: 8093: 8089: 8088: 8086: 8084: 8080: 8077: 8075: 8071: 8057: 8056: 8051: 8045: 8044: 8039: 8033: 8032: 8027: 8021: 8020: 8015: 8009: 8008: 8003: 7997: 7996: 7991: 7985: 7984: 7979: 7973: 7972: 7967: 7961: 7960: 7955: 7954: 7952: 7948: 7941: 7937: 7934: 7930: 7927: 7923: 7920: 7916: 7913: 7909: 7906: 7902: 7899: 7895: 7892: 7888: 7885: 7881: 7878: 7874: 7871: 7867: 7864: 7860: 7857: 7853: 7850: 7846: 7843: 7839: 7836: 7832: 7829: 7825: 7822: 7818: 7815: 7811: 7808: 7804: 7801: 7797: 7794: 7790: 7787: 7783: 7780: 7776: 7773: 7769: 7766: 7762: 7759: 7755: 7752: 7748: 7745: 7741: 7740: 7738: 7736: 7732: 7725: 7721: 7718: 7714: 7711: 7707: 7704: 7700: 7697: 7693: 7690: 7686: 7683: 7679: 7676: 7672: 7669: 7665: 7662: 7658: 7655: 7651: 7648: 7644: 7641: 7637: 7634: 7630: 7627: 7623: 7620: 7616: 7613: 7609: 7606: 7602: 7599: 7595: 7592: 7588: 7585: 7581: 7578: 7574: 7571: 7567: 7564: 7560: 7557: 7553: 7550: 7546: 7543: 7539: 7536: 7532: 7529: 7525: 7522: 7518: 7515: 7511: 7508: 7504: 7501: 7497: 7494: 7490: 7487: 7483: 7482: 7480: 7478: 7474: 7471: 7469: 7468:Literary arts 7465: 7458: 7454: 7451: 7447: 7444: 7440: 7437: 7433: 7430: 7426: 7420: 7419: 7413: 7412: 7410: 7409:Neoplasticism 7406: 7403: 7399: 7396: 7392: 7389: 7385: 7380: 7376: 7375: 7373: 7372:Functionalism 7369: 7366: 7362: 7357: 7353: 7349: 7348: 7342: 7338: 7337: 7331: 7330: 7328: 7327:Expressionism 7324: 7321: 7317: 7314: 7310: 7307: 7303: 7300: 7299:Ashcan School 7296: 7292: 7291: 7285: 7281: 7280: 7274: 7271: 7267: 7266: 7264: 7260: 7256: 7249: 7244: 7242: 7237: 7235: 7230: 7229: 7226: 7213: 7212: 7208: 7205: 7204: 7200: 7197: 7196: 7192: 7189: 7188: 7187:King of Kings 7184: 7181: 7180: 7176: 7173: 7172: 7168: 7165: 7164: 7160: 7157: 7156: 7152: 7149: 7148: 7144: 7141: 7140: 7136: 7133: 7132: 7128: 7125: 7124: 7120: 7117: 7116: 7115:Run for Cover 7112: 7109: 7108: 7107:Johnny Guitar 7104: 7101: 7100: 7099:The Lusty Men 7096: 7093: 7092: 7088: 7085: 7084: 7080: 7077: 7076: 7072: 7069: 7068: 7064: 7061: 7060: 7056: 7053: 7052: 7048: 7045: 7044: 7040: 7039: 7036: 7032: 7024: 7019: 7017: 7012: 7010: 7005: 7004: 7001: 6995: 6992: 6989: 6988: 6984: 6982: 6980: 6976: 6974: 6970: 6967: 6964: 6961: 6959: 6955: 6952: 6950: 6946: 6943: 6942: 6933: 6929: 6925: 6921: 6917: 6915:1-8445-7001-0 6911: 6907: 6903: 6898: 6894: 6892:0-7432-6082-1 6888: 6883: 6882: 6875: 6871: 6869:0-571-14086-6 6865: 6861: 6856: 6855: 6844: 6839: 6830: 6821: 6813: 6806: 6798: 6792: 6788: 6781: 6773: 6767: 6763: 6756: 6749: 6745: 6739: 6732: 6728: 6722: 6715: 6711: 6705: 6698: 6694: 6688: 6681: 6677: 6676:Johny Guitare 6671: 6665: 6660: 6645: 6641: 6634: 6627: 6621: 6619: 6603: 6599: 6592: 6590: 6588: 6581: 6576: 6569: 6565: 6559: 6550: 6543: 6537: 6529: 6525: 6521: 6514: 6506: 6500: 6496: 6489: 6483: 6478: 6469: 6454: 6453: 6448: 6441: 6434: 6428: 6419: 6410: 6401: 6395:, pp. 254–60. 6394: 6388: 6382:, pp. 251–54. 6381: 6375: 6366: 6357: 6348: 6342:, pp. 229–32. 6341: 6335: 6328: 6322: 6316:, pp. 216–22. 6315: 6309: 6301: 6297: 6293: 6286: 6277: 6268: 6261: 6255: 6249:, pp. 84, 97. 6248: 6242: 6235: 6229: 6221: 6215: 6211: 6207: 6201: 6192: 6186:, pp. 206–08. 6185: 6179: 6170: 6163: 6157: 6150: 6145: 6136: 6127: 6118: 6109: 6100: 6085: 6084:AMFM Magazine 6081: 6074: 6067: 6061: 6052: 6043: 6028: 6024: 6017: 6008: 6001: 5995: 5987: 5981: 5977: 5970: 5961: 5952: 5944: 5942:9780520082335 5938: 5934: 5927: 5918: 5909: 5900: 5891: 5883: 5879: 5872: 5865: 5861: 5855: 5846: 5837: 5828: 5819: 5811: 5807: 5801: 5792: 5783: 5774: 5765: 5756: 5748: 5744: 5737: 5728: 5719: 5712: 5706: 5691: 5687: 5680: 5671: 5662: 5653: 5638: 5634: 5633:"AFI Catalog" 5628: 5619: 5610: 5601: 5592: 5577: 5573: 5566: 5557: 5548: 5540: 5536: 5529: 5520: 5511: 5502: 5493: 5484: 5475: 5468: 5462: 5455: 5449: 5440: 5431: 5422: 5413: 5404: 5395: 5386: 5377: 5370: 5364: 5362: 5352: 5343: 5334: 5325: 5316: 5309: 5303: 5296: 5290: 5283: 5277: 5271:. pp. 167–68. 5270: 5266: 5260: 5253: 5249: 5245: 5239: 5232: 5231:Johnny Guitar 5226: 5217: 5208: 5199: 5192: 5188: 5182: 5175: 5171: 5165: 5154:September 22, 5150: 5146: 5139: 5137: 5127: 5118: 5109: 5102: 5096: 5088: 5081: 5073: 5071:0-525-47227-4 5067: 5063: 5056: 5048: 5044: 5040: 5033: 5025: 5023:9780674090613 5019: 5015: 5014: 5006: 4998: 4994: 4990: 4983: 4981: 4979: 4969: 4961: 4954: 4945: 4938: 4932: 4923: 4915: 4911: 4904: 4895: 4887: 4883: 4879: 4872: 4866: 4861: 4852: 4845: 4841: 4835: 4828: 4824: 4818: 4809: 4800: 4785: 4783:9780743291187 4779: 4775: 4771: 4770: 4763: 4761: 4759: 4749: 4740: 4731: 4722: 4713: 4704: 4695: 4686: 4677: 4670: 4665: 4654:September 22, 4649: 4645: 4639: 4630: 4621: 4612: 4603: 4594: 4586: 4582: 4575: 4566: 4557: 4548: 4539: 4530: 4521: 4515: 4510: 4495: 4491: 4484: 4475: 4467: 4465:0-671-22919-2 4461: 4457: 4450: 4443: 4439: 4438:Johny Guitare 4433: 4424: 4415: 4406: 4398: 4391: 4382: 4373: 4358: 4354: 4348: 4339: 4332: 4331: 4326: 4321: 4305: 4301: 4297: 4291: 4284: 4278: 4263: 4259: 4253: 4244: 4235: 4226: 4211: 4207: 4201: 4194: 4183: 4181:9780801878404 4177: 4173: 4168: 4167: 4159: 4157: 4148: 4142: 4138: 4131: 4123: 4121:0-571-14086-6 4117: 4113: 4106: 4099: 4095: 4089: 4087: 4070: 4066: 4060: 4058: 4056: 4051: 4039: 4036: 4034: 4033: 4029: 4026: 4025: 4022: 4019: 4017: 4016: 4012: 4009: 4008: 4004: 4001: 3999: 3996: 3993: 3992: 3989: 3986: 3984: 3983: 3979: 3976: 3975: 3971: 3968: 3966: 3965: 3961: 3958: 3957: 3953: 3950: 3948: 3947: 3943: 3940: 3939: 3935: 3933:Bakery Clerk 3932: 3930: 3929: 3925: 3922: 3921: 3917: 3914: 3911: 3908: 3907: 3899: 3892: 3890: 3889:Victor Mature 3886: 3883: 3881: 3878: 3876: 3875: 3871: 3868: 3867: 3863: 3859: 3857: 3853: 3849: 3846: 3844: 3841: 3839: 3838: 3834: 3831: 3830: 3826: 3824: 3820: 3817: 3815: 3812: 3810: 3809: 3805: 3802: 3801: 3797: 3794: 3792: 3788: 3785: 3783: 3780: 3778: 3777: 3773: 3770: 3769: 3765: 3762: 3759: 3756: 3753: 3752: 3739: 3735: 3731: 3729: 3727: 3725: 3724: 3720: 3717: 3716: 3713: 3710: 3708: 3706: 3704: 3701: 3698: 3697: 3693: 3691: 3689: 3687: 3684: 3681: 3680: 3676: 3673: 3671: 3669: 3667: 3666: 3662: 3659: 3658: 3654: 3652: 3648: 3644: 3641: 3639: 3636: 3634: 3633: 3629: 3626: 3625: 3621: 3619: 3615: 3611: 3608: 3606: 3603: 3601: 3600: 3599:King of Kings 3596: 3593: 3592: 3588: 3586: 3585:Peter O'Toole 3582: 3581:Anthony Quinn 3579: 3577: 3573: 3570: 3568: 3567: 3563: 3560: 3559: 3555: 3552: 3550: 3546: 3545:Robert Taylor 3543: 3541: 3537: 3534: 3532: 3531: 3527: 3524: 3523: 3519: 3517: 3513: 3510: 3508: 3505: 3503: 3502: 3498: 3495: 3494: 3490: 3488: 3484: 3481: 3478: 3475: 3473: 3472: 3467: 3464: 3461: 3460: 3456: 3454: 3450: 3446: 3445:Robert Wagner 3443: 3441: 3438: 3436: 3435: 3431: 3428: 3427: 3423: 3421: 3417: 3414: 3412: 3409: 3407: 3406: 3402: 3399: 3398: 3394: 3392: 3388: 3385: 3383: 3380: 3378: 3377: 3373: 3370: 3369: 3366: 3363:Warnercolor, 3362: 3360: 3356: 3352: 3349: 3347: 3344: 3342: 3341: 3337: 3334: 3333: 3330: 3327:Technicolor, 3326: 3324: 3320: 3317: 3315: 3312: 3310: 3309: 3308:Run for Cover 3305: 3302: 3301: 3298: 3295: 3293: 3289: 3288:Joan Crawford 3286: 3284: 3281: 3279: 3278: 3277:Johnny Guitar 3274: 3271: 3270: 3266: 3263: 3261: 3260:Susan Hayward 3257: 3254: 3252: 3249: 3247: 3246: 3245:The Lusty Men 3242: 3239: 3238: 3234: 3233: 3227: 3225: 3221: 3218: 3216: 3213: 3211: 3210: 3206: 3203: 3202: 3199: 3196: 3194: 3190: 3187: 3185: 3182: 3180: 3179: 3175: 3172: 3171: 3168: 3166: 3162: 3161:Joan Fontaine 3159: 3157: 3154: 3152: 3151: 3147: 3144: 3143: 3140: 3138: 3134: 3131: 3129: 3126: 3124: 3123: 3119: 3116: 3115: 3112: 3110: 3106: 3102: 3099: 3097: 3094: 3092: 3091: 3087: 3084: 3083: 3080: 3078: 3074: 3071: 3069: 3066: 3064: 3063: 3059: 3056: 3055: 3052: 3050: 3046: 3042: 3039: 3037: 3034: 3032: 3031: 3027: 3024: 3023: 3019: 3016: 3013: 3010: 3007: 3006: 2990: 2986: 2982: 2978: 2977:Dennis Hopper 2974: 2973: 2972:King of Kings 2968: 2967: 2962: 2959: 2956: 2952: 2951:Johnny Guitar 2948: 2944: 2943: 2938: 2934: 2930: 2926: 2923: 2920: 2919: 2914: 2910: 2906: 2905:Johnny Guitar 2902: 2899: 2896: 2895: 2890: 2886: 2885: 2880: 2877: 2874: 2873: 2867: 2863: 2862:Curtis Hanson 2859: 2856: 2855: 2850: 2849: 2844: 2842: 2841:Made in U.S.A 2837: 2836:Samuel Fuller 2833: 2832: 2827: 2826:Johnny Guitar 2823: 2822:Johnny Guitar 2819: 2818: 2813: 2809: 2805: 2804: 2799: 2795: 2791: 2788:), painting ( 2787: 2783: 2779: 2775: 2772: 2769: 2765: 2764: 2759: 2755: 2751: 2747: 2744:As a critic, 2743: 2742: 2741: 2733: 2730: 2725: 2723: 2717: 2715: 2711: 2707: 2702: 2700: 2696: 2695: 2690: 2684: 2682: 2678: 2674: 2670: 2666: 2665: 2660: 2655: 2653: 2652:Spring Street 2650:loft, at 167 2649: 2645: 2641: 2637: 2633: 2627: 2623: 2620: 2616: 2612: 2608: 2604: 2600: 2596: 2592: 2588: 2584: 2579: 2577: 2573: 2568: 2566: 2562: 2558: 2553: 2551: 2547: 2543: 2539: 2534: 2530: 2526: 2522: 2517: 2515: 2514: 2509: 2505: 2504:Fillmore East 2501: 2500:Grateful Dead 2495: 2492: 2487: 2485: 2484: 2483:Run For Cover 2478: 2474: 2470: 2466: 2462: 2457: 2455: 2451: 2447: 2446:Chicago Seven 2443: 2438: 2436: 2433:in Paris, in 2432: 2428: 2427:Johnny Guitar 2424: 2419: 2415: 2413: 2412:Kennebunkport 2409: 2405: 2404:Logan Airport 2401: 2397: 2393: 2392: 2386: 2384: 2379: 2375: 2373: 2369: 2365: 2363: 2358: 2357:Gavin Lambert 2354: 2349: 2345: 2340: 2338: 2333: 2329: 2328: 2322: 2320: 2316: 2312: 2308: 2304: 2300: 2296: 2292: 2288: 2287:Johnny Guitar 2284: 2282: 2278: 2277:Johnny Guitar 2274: 2273:Zsa Zsa Gabor 2270: 2269: 2268:Johnny Guitar 2264: 2263: 2258: 2257:Joan Crawford 2254: 2250: 2246: 2241: 2238: 2234: 2230: 2226: 2225: 2220: 2216: 2212: 2208: 2203: 2200: 2196: 2195: 2189: 2185: 2181: 2180: 2175: 2171: 2170: 2164: 2162: 2158: 2157:Judy Holliday 2154: 2150: 2146: 2141: 2139: 2135: 2131: 2130:John Houseman 2128:(OWI), under 2127: 2122: 2120: 2116: 2112: 2108: 2104: 2100: 2096: 2091: 2089: 2084: 2081: 2078: 2074: 2070: 2066: 2061: 2059: 2054: 2050: 2045: 2043: 2042: 2035: 2033: 2029: 2025: 2017:Personal life 2014: 2012: 2008: 2004: 2000: 1999:The Lusty Men 1996: 1992: 1988: 1984: 1983:King of Kings 1980: 1976: 1972: 1968: 1965:; the family 1964: 1960: 1956: 1952: 1948: 1944: 1940: 1936: 1935:Johnny Guitar 1932: 1931:Run For Cover 1928: 1924: 1921: 1917: 1913: 1909: 1905: 1895: 1893: 1889: 1885: 1880: 1874: 1872: 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(1975). 4046:References 3998:Wet Dreams 3808:The Racket 3791:Joan Evans 3747:Other work 3712:Short film 3686:Wet Dreams 3576:Magic Film 3554:Metrocolor 3530:Party Girl 3449:Hope Lange 3351:James Dean 3323:John Derek 3224:Ida Lupino 3189:John Wayne 3077:John Derek 2864:discusses 2796:), music ( 2794:Eisenstein 2792:), dance ( 2790:Rossellini 2640:City Blues 2595:Wet Dreams 2529:Ken Jacobs 2400:Party Girl 2355:, Ray met 2303:James Dean 2237:Elia Kazan 2149:Gene Kelly 2032:teetotaler 2028:Lil Hardin 1995:Party Girl 1863:Party Girl 1855:Party Girl 1851:Party Girl 1774:Josh White 1749:table read 1737:Vakhtangov 1733:Meyerholdt 1617:Wet Dreams 1594:City Blues 1546:Conspiracy 1474:Jane Fonda 1440:'s novel, 1431:Seven Arts 1427:Gore Vidal 1407:Avala Film 1157:Ruth Roman 1124:Party Girl 1002:James Dean 908:melodramas 777:adaptation 554:Lead Belly 534:Alan Lomax 522:Elia Kazan 348:Palme d'Or 273:James Dean 189:Betty Utey 60:1911-08-07 10385:Pulp noir 10343:Modernity 10208:Film noir 9932:St. Denis 9855:Diaghilev 9591:Schaeffer 9514:Hindemith 9493:Dutilleux 9465:Boulanger 9270:The Dance 8966:Tarkovsky 8959:Sternberg 8791:Hitchcock 8707:Dovzhenko 8623:Antonioni 8568:Stieglitz 8407:Metzinger 8358:Kokoschka 8337:Kandinsky 7751:Aldington 7744:Akhmatova 7661:Marinetti 7654:Mansfield 7605:Hemingway 7443:Symbolism 7262:Movements 7255:Modernism 7131:Hot Blood 6435:, p. 268. 6329:, p. 228. 6236:, p. 108. 6068:, p. 188. 6002:, 114–17. 5576:Curbed LA 5297:, p. 167. 4494:IndieWire 3987:Nick Ray 3512:Burl Ives 3376:Hot Blood 3359:Sal Mineo 2860:Director 2814:, and in 2736:Influence 2630:starring 2611:Tom Luddy 2327:Hot Blood 2311:Sal Mineo 2003:Hot Blood 1967:melodrama 1757:Reinhardt 1670:King Lear 1577:marijuana 1508:Wha-a-at? 1480:, titled 1330:Ray with 1316:Guy Green 1311:Cleopatra 1085:Paramount 1059:Cortisone 1033:Sal Mineo 748:Gun Crazy 726:film noir 678:Hollywood 662:Lute Song 635:Lute Song 550:Burl Ives 429:Al Capone 362:in their 118:1946–1979 10467:Category 10068:Fountain 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1572:(2011). 1221:Manitoba 1197:life by 1132:gangster 972:story, " 968:, of an 904:Westerns 775:'s 1974 768:Badlands 761:(1967), 751:(1950), 719:Columbia 614:Broadway 575:and the 514:Will Lee 495:Taliesin 452:geometry 297:(1954), 291:(1950), 285:(1948), 235:Children 10122:Related 9984:Ubu Roi 9939:Tamiris 9925:Sokolow 9904:Massine 9772:Osborne 9765:O'Neill 9758:O'Casey 9716:Chekhov 9702:Beckett 9688:Anouilh 9672:Theatre 9619:Strauss 9577:Russolo 9556:Milhaud 9535:Janáček 9507:Górecki 9500:Feldman 9486:Debussy 9479:Copland 9437:Antheil 9175:Steiner 9098:Johnson 9077:Guimard 9070:Gropius 8917:Resnais 8819:Kubrick 8749:Fellini 8735:Epstein 8721:Edwards 8686:Cocteau 8672:Chaplin 8644:Bresson 8637:Bergman 8616:Aldrich 8609:Akerman 8554:Soutine 8526:Schiele 8477:Picasso 8470:Picabia 8400:Matisse 8274:Gauguin 8246:Duchamp 8204:Kooning 8183:Claudel 8176:Chirico 8169:Chagall 8162:Cézanne 8155:Cassatt 8127:Bonnard 8113:Bellows 8106:Balthus 7983:Ulysses 7905:Stevens 7898:Seferis 7717:Unamuno 7556:Forster 7535:Chekhov 7500:Beckett 7429:Orphism 7395:Imagism 7379:Bauhaus 7365:Fauvism 7270:Acmeism 6981:article 6843:TCM.com 6602:YouTube 6524:Vertigo 5810:Variety 5686:"Giant" 5103:, p. 3. 4910:Variety 4581:America 4397:Variety 3540:Euterpe 2875:(1997). 2857:(1976). 2831:Weekend 2550:cocaine 2291:Variety 2099:bohemia 2065:Racquet 1991:musical 1739:, than 1735:, then 1549:could. 1516:L'Evadé 1459:titled 1334:in 1953 1256:America 1223:and on 1019:empathy 1017:and an 986:Dickens 625:musical 476:Racquet 448:physics 385:, with 228: 220: 208: 196: 192: 181: 169: 165: 152: 140: 136: 123:Spouses 10108:(1953) 10096:(1928) 10084:(1921) 10072:(1917) 10060:(1913) 10048:(1912) 10036:(1910) 10024:(1905) 10020:Salome 10012:(1902) 10000:(1899) 9988:(1896) 9976:(1888) 9953:Wigman 9883:Graham 9876:Fuller 9869:Fokine 9862:Duncan 9814:Wilder 9800:Toller 9737:Kaiser 9709:Brecht 9695:Artaud 9654:Webern 9640:Varèse 9570:Partch 9542:Ligeti 9472:Boulez 9444:Bartók 9402:(1943) 9390:(1941) 9378:(1936) 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