Status Updates From Cahiers du Cinéma, the 1950...

There is not one of Ray's films without nightfall. He is the poet of nightfall, and in Hollywood everything is permissible, except poetry. Hawks, for example, keeps it at arm's length, and Hitchcock cautiously ventures four or five shots each time, in small doses. While a Hawks settles down in Hollywood — in reality he spends most of the year in Switzerland — and takes things easy, -

The hallmark of Ray's very great talent resides in his absolute sincerity, his acute sensitivity. He is not of great stature as a technician. All his films are very disjointed, but it is obvious that Ray is aiming less for the traditional and all-round success of a film than at giving each shot a certain emotional quality. Johnny Guitar is 'composed', rather hurriedly, of very long takes divided into four. -

Nick Ray is an auteur in our sense of the word. All his films tell the same story, the story of a violent man who wants to stop being violent, and his relationship with a woman who has more moral strength than himself. For Ray's hero is invariably a man lashing out, weak, a child-man when he is not simply a child. There is always moral solitude, there are always hunters, sometimes lynchers.

Nicholas Ray is one of those who fight it out to the finish, and can exhaust the possibilities of a development. Everything always proceeds from a simple situation where two or three people encounter some elementary and fundamental concepts of life. And the real struggle takes place in only one of them, against the interior demon of violence, or of a more secret sin, which seems linked to man and his solitude. -

When François Truffaut compares Nicholas Ray with Bresson, really do see two film-makers who are obsessed with the abstract and whose sole concern is always to reach this ideal countenance by the shortest road, and let clumsiness be the road if it is the shortest one. -

"For those who need more proofs than those offered on the screen: it is not our custom in Cahiers to pay any attention to the tittle-tattle circulated in the Hollywood gossip columns, but it is important to bear in mind — Bazin agrees with me here — how much Ray's life resembles his films. First a long idyll with Joan Crawford whom he meets again several years later to film Johnny Guitar, -

"Nicholas Ray is to some extent the Rossellini of Hollywood; in the kingdom of mechanization he is the craftsman, lovingly fashioning small objects out of holly wood. Hence a hue and cry against the amateur! There is not one of Ray's films without nightfall. He is the poet of nightfall, and in Hollywood everything is permissible, except poetry. Hawks, for example, keeps it at arm's length, -

"Nicholas Ray is to some extent the Rossellini of Hollywood; in the kingdom of mechanization he is the craftsman, lovingly fashioning small objects out of holly wood. Hence a hue and cry against the amateur! There is not one of Ray's films without nightfall. He is the poet of nightfall, and in Hollywood everything is permissible, except poetry. Hawks, for example, keeps it at arm's length, -

- The Bogart man is not defined by his accidental respect, or his contempt, for bourgeois virtues, by his courage or his cowardice, but above all by this existential maturity which gradually transforms life into a stubborn irony at the expense of death.

But is not this precisely the proof that our sympathy went out, beyond even the imaginary biographies and moral virtues or their absence, to some profounder wisdom, to a certain way of accepting the human condition which may be shared by the rogue and by the honourable man, by the failure as well as by the hero. -