Perhaps best known for Rebel without a Cause , American filmmaker Nicholas Ray directed dozens of movies in the film noir genre, including In a Lonely Place, Johnny Guitar, and They Live by Night. Born in Galesville, Wisconsin, in 1911, Ray was an iconoclastic figure in film--an alcoholic, depressive, and compulsive gambler--who found himself increasingly blacklisted in Hollywood in the 1960s only to be heralded as the spiritual father to American cinema's New Wave and one of America's greatest rebel auteurs. From Martin Scorsese to Jean-Luc Godard and Jim Jarmusch, Ray's influence can be seen throughout the work of some of the twentieth century's greatest directors. In this authoritative biography, Bernard Eisenschitz leaves no stone unturned.
I actually attempted to contact Mr. Eisenschitz to thank him for delivering this book going as far as contacting his publisher. I go back to this book over and over as it contains a wealth of information about the great man Nicholas Ray. If you haven't read this, get it now. Also, get Ray's book I WAS INTERRUPTED; a heartbreaking book composed of various entries toward the end of Ray's life. What a journey through a life of creativity and moviemaking. Eisenschitz manages to compose a meaningful portrait of Ray's life with amazing detail covering all periods and various lives ray led. I found the rambling years and failed projects Ray attempted the most fascinating ending with his 'folding chair' positions at various colleges, and his meeting in Chicago '68 with Susan. And his eventual surrender with alcoholism. A genius work. And: Mr. Eisenschitz, if you by-chance read this, I was looking for you, and e-mail me (jamessturch@cs.com) so I can tell you of my gratitude.
Thorough examination of American auteur director
Published by Thriftbooks.com User , 25 years ago
Cinema and theatre lovers should find this book an interesting and revealing read. Bernard Eisenschitz has done credit to another American film master more appreciated in Europe than in his own country. The early chapters are especially interesting in regard to Ray's apprenticeship and contribution to theatre in New York and elsewhere. Theatre of Action, Federal Government subsidies for the arts and the whole question of government support and the benefits these brought, Voice of America, and Ray's sympathies for the marginalised of American society are all attentively addressed by the author. Insights into the relationships between studios and artists, the power of stars, the evolution of scripts, the egoes of such as Joan Crawford, the genesis of some memorable even iconographic films such as Rebel Without a Cause, make for an excellent read. At least two films Ray made, In A Lonely PLace and Johhny Guitar, can be reckoned as American masterpieces and for these alone Ray deserved this biography. It contains 79 illustrations, extensive notes, a detailed filmography and comprehensive index. I recommemd this text for the general reader even vaguely interested in American cinema.
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