A thematic follow-up to You Only Live Once andforerunner to Bonnie And Clyde, They Live By Night is a nightmare tourof American society – drab, mercenary, and insanely competitive – thatbegins with a prison break and follows the hopeless flight of abewildered young “criminal” (Farley Granger) and the woman he meets onthe road (Cathy O’Donnell). The tenderness of the love story in They Live By Night contrasts sharply with the noir elements of the genre, andgives rise to the special lyricism of the film and its socialconsciousness as an indictment of a world too cruel and unjust forinnocents like Keechie and Bowie. Already in this astonishing firstfilm, Ray’s style is as striking in its compactness and expressivemise-en-scene, as it is personal in its peculiar nervousness andintegration to a decidedly modern, existential view of individualalienation and social determinants. —BAM/PFA
Born in small-town Wisconsin in 1911, Nicholas Ray’s early experience with film came with some radio broadcasting in high school. He left the University of Chicago after a year, but made such an impression on his professor and writer Thorton Wilder that he was recommended for a scholarship with Frank Lloyd Wright, where he learned the importance of space and geography, not to mention his later love for CinemaScope. When political differences came between the seasoned architect and his young protégé, Ray left for New York and became immersed in the radical theater. He joined the Theater of Action and later the Group Theater, which is where he met his good friend Elia Kazan. Times were tough and money was tight, but Ray loved the bohemian lifestyle of the close-knit group and enjoyed one of the happiest times of his life. Anybody who met him always noted his intellect and amazing energy. During this period he, along with his fellow Theater Group members, was also active in Socialist/Communist… read more
Nicholas Ray's proto-"Bonnie & Clyde" is a visually sumptuous film, all the more impressive considering it was Ray's debut. The filmmaker utilizes helicopter shots way before they were en vogue, lush shadows and beautifully lit close-ups, and a rather seamless blend of location shooting with RKO sets. Frances Granger is far too mannered to play a hardened criminal, but the camera loves him and you can see why Ray was so captivated by his subject. The cutting and mise-en-scene here strike one as more French New Wave than 40's Hollywood, while Ray's unadorned and empathetic approach to his criminal subjects links the film with the work of Robert Bresson. Even with a smattering of misjudged lines or unconvincing performances, "We Live By Night" remains a sensitive portrait of true outsiders.
Ray manda muito bem em seu filme de estreia: "Amarga esperança" (título no Brasil) é poético para uma história sobre prisioneiros fugidos que assaltam bancos no interior dos EUA. A escolha por fazer um filme de amor, a partir de um tema tão árido, é marcada pela composição em luz e sombra - própria do cinema Noir - e pela fuga permanente do jovem casal pelo país, criando um road movie tocante mas sem esperanças.
basically, if someone who does not love this movie was about to be hit by a car, i would not warn them
A discussion with the co-directors of Low Life, a poignant story of young people loving against the law in modern France.
Nick Ray’s genre of everyday life.
"Farley Granger, best known for the Alfred Hitchcock thrillers Rope (1948) and Strangers on a Train (1951), and for Luchino Visconti's period
They Live by Night plays as part of a 15-film Nicholas Ray retrospective at New York’s Film Forum on July 29th & 30th. *** From the very
Algunos apuntes tristes luego de ver They Live By Night (Nicholas Ray, 1949)
No hay caso: enfrentarse a una película de Nicholas Ray es enfrentarse a la más sentida de las desazones. Son películas… read review