Lightning Over Water (1980) Wim Wenders Nicholas Ray & Death
Wim Wenders does not search Lightning Over Water a spectacle of death and a trivialization of the pain, make this blend of fiction and documentary about the legendary figure, sick and dying filmmaker American Nicholas Ray. The moral and respectful of Wenders to the decadent state and Ray terminal him away full of immorality and lack of scruples of the producer who played Harry Dean Stanton in live Death (1980) by Bertrand Tavernier, and it is decided to launch a new reality that was to show the progressive physical and moral degradation Montherhoe Katherine (Romy Schneider) an alleged cancer patient with a single purpose: to raise the ratings. These two films made in the same year show two opposing positions in the representation of illness and death. One based on the illness, the espectaculariación trivialization and the suffering of others, one on respect, trust, honor, grief and support. L to death, the death that always starts again and whose ubiquity is more powerful because it is presented as a scandal in a society Overmedicalized and no longer has a sense to confront and accept the final disappearance ( Lipovestsky), will undoubtedly recording Lightning Over Water and Wenders company which gives the possibility of being Ray himself and cope with their imminent demise, talk face to face with death and death.
Affiliations
In this kind of oxymoron that is the title of one of the most popular films of Wim Wenders. Paris Texas is summarized in a metaphorical sense of the topics of R elámpago in water, confrontation and encounter between European and American cinema, modern and classical. Should recall the famous words of Francois Trouffaut: Nicholas Ray is cinema . So, if cinema is Nicholas Ray Lightning Over Water will be more than the fight against disease and acceptance of the death of an artist, as revealed in his beautiful Naomi Kawase Documentary Letter from a Yellow Cherry Blossom (2003). What is German filmmaker wants to show the death of cinema, in a way to understand it and do it, it will become extinct with the demise of director night lovers (1949) and Rebel Without a Cause (1955).
The voiceover Wim Wenders who score the entire film, says it has blanketed the feeling of being a father. This kind of Oedipus complex reveals the German filmmaker, is a latent feeling in much of the film modern. Ray's death means the death of classicism, tradition, a certain idea of \u200b\u200bcinema from the 60's in America began to disappear, ceased to be hollow. Godard showed us one in Contempt (1963) , with the mythical figure of Fritz Lang displaced by the new times, become a being anachronistic. The same thing would happen to Nicholas Ray after the producer Samuel Boston takes away from filming 55 days in Beijing (1962) , Ray will not shoot anything in the Hollywood industry. If we consider that three years before Lightning on water , Nicholas Ray played in The American Friend (1977) by Wim Wenders, the role of an artist that the world was dead, we can deduce the feeling that the American director should have during his last years.
The modern children while their parents are away, show their links and ties with them either good for subertirlos or to honor them, because the currency if it loses its link with the moda.Wenders stays last did much of his work, not only with Nicholas Ray Lightning Over Water (1980), also Samuel Fuller The American Friend Yasujiro Ozu T oo Okyo-Ga (1985)
pollution and opposition between Paris Texas, Europe, America, Modern Classicism was so palpable since 1960, while the classic filmmakers like Richard Brooks, Alfred Hitchcock, Douglas Sirk, Vincente Minnelli or the same Nicholas Ray began to show the seams and folds of classicism, while this is cracked, they killed the father of modern Hollywood, but kept ties with tradition Godard What would not Nicholas Ray, Jacques Rivette without Fritz Lang, Claude Chabrol without Eric Alfred Hitchcock or Howard Hawks Rhome not? German Wim Wenders The student knows that the legacy left to modern classics and there are links between them, so they paid tribute and mourning the American master Nicholas Ray while he finds himself at death's door.
Fiction Documentary film articulates with a constant opposition between document and fiction, between video and film, between the spontaneous and prepared. . The idea came immediately after a conversation directly, only three days before I arrived in New York Wenders, so the film will be a kind of Work in Progress will be subject to the evolution of the disease and its progressive deterioro.La Ray voiceover Wenders states that do not know where they are going to shoot his only matters is the reality of everyday life. But faced with the cleanliness of the images in 35 opposes the instantaneous and rough video footage showing the intricacies of recording, the preparation of certain shots, dialogues and conversations that reveal record off constant opposition between documentary and and fiction.
.jpg)
