During the '35th Cannes International Film Festival' (14th-26th May 1982), German director Wim Wenders asked a sample of 15 other international film directors to get, each one at a time, ... See full summary »
The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of film-making as a "communal way of life." Ray plays himself in the ... See full summary »
A traveling projection-equipment mechanic works in Western Germany along the East-German border, visiting worn-out theatres. He meets with a depressed young man whose marriage has just broken up, and the two decide to travel together.
A commander receives a citation for an attack on Rommel's headquarters, which is actually undeserved as the commander is unfit for his job. On top of that, unbeknownst to him, his wife is having an affair with one of his officers.
Experimental anthology film consisting of nine segments - Contrasts, The Janitor, The Plumber, Another Wet Dream, The Happy Necrophiliacs, On a Sunday Afternoon, A Face, Politfuck, Flames - all focused on 70s sex, love and politics.
Director Nicholas Ray is eager to complete a final film before his imminent death from cancer. Wim Wenders is working on his own film Hammett (1982) in Hollywood, but flies to New York to help Ray realize his final wish. Ray's original intent is to make a fiction film about a dying painter who sails to China to find a cure for his disease. He and Wenders discuss this idea, but it is obviously unrealistic given Ray's state of health. Written by
Karl Engel <firstname.lastname@example.org>
We are starting this new film of ours with about the same amount of head-start that we had on, The Lusty Men. A little backstory behind it, is that we started shooting with 26 pages of script, and then we wrote every night. So, there wasn't much besides instinct and reactions of my actors to what we had done the day before; to what we were going to do the next day. So, there was no possibility of meticulous 'Henry James-type' construction. The closer I get to my ending... the closer ...
See more »
This is not a movie for Wenders fans as much as it is for Nick Ray fans. In fact, I wouldn't recommend it unless you felt connected to the director. And I don't mean that you've happened to rent Johnny Guitar, In a Lonely Place or They Live By Night. See it if you saw a theme in Ray's work, one that made you go back and learn about his life. See it if you re-watched his films, trying to understand every cut and what it told you about the man behind the camera. See it if it bothers you that he will never make another film. Because in Lightning over water Nicholas Ray invites you to share his death with him, and, if you see it, you must be prepared to grieve. I saw this movie late one night in my college dorm room (a college with a featured role in the film, but that is merely tangential). I didn't let anyone watch it with me. The previous summer my grandfather had died in the same drawn-out manner. He was surrounded by family from the time of his diagnosis to the time of his death. Wenders and his crew are Nick Ray's family -- a love of the director's work is the blood connecting them. Wenders carries a camera with him because he knows that others -- even those who never heard of Nicholas Ray until he was dead for 18 years -- have the same blood in them. Wenders gives us the chance. But it is Nick Ray who we come to see.
10 of 12 people found this review helpful.
Was this review helpful to you?