We Can't Go Home Again

There is a controversy about "experimental films." Well, Some sustain that this film isn't, but I have to make my point. This is an experimental film, and is by far only an experimental film, no less, no more.

It searches to be deep, but rarely succeed in be understandable. Maybe, it's just a chance to find another form to show a story, but the story was so poor, so dumb, that this new narrative lose all his chance to convince. Some people find sense in this film, but I believe that they commit a common mistake: to take the unreasonable and stupid for complexity and deepfulness. Well, you may remember the Anderson tale, the The Emperator's new suit. Don't be misguide by the theories of some people. This looks like a documentary, and is fine, but it has a 70 games of colors and filters, but the plot... well, there isn't.. the story.. well, it's just dumb... and the theme... well, it's like everything and nothing, like the Emperator's new suit.

After years as a mainstream director, Nicholas Ray (of "Rebel without a Cause" fame) went to the State University of New York at Binghamton and got the students to collaborate on an experimental film with him. "We Can't Go Home Again" is somewhere between a narrative film and a documentary, with a lot of discussion about the student movements of the late '60s and early '70s.

It's hard to decide what to say about the movie. Without a doubt, it's unlike any movie that you've ever seen. Ray makes himself look all ragged throughout much of it. The movie is probably the sort of thing that will be of interest to film buffs but no one else. I also recommend the 2011 documentary "Don't Expect Much", about its production.

I noticed that in the credits, the Special Thanks section included the recently deceased Peter Bogdanovich.

Nicholas Ray cut two different versions of this film over the course of almost a decade, and unfortunately only the earlier cut, considered the inferior one, survives. Nonetheless, this is a mind-boggling film made with his students at SUNY Binghamton, a film which challenges most cinematic conventions of narrative (and technique) without coming off as merely "an experiment". The final "shooting" of the film alone is worthy of an essay: instead of optically printing and collaging the material, which was shot on various formats (35mm, 16mm, video), Ray and his dedicated crew actually rented a soundstage, set up a series of different projectors, and literally _performed_ the film live on a screen surrounded by an intermittently changing photographic "frame". The result completely prefigures the emergence of "film performance" artists in the decades to follow and surely makes WE CAN'T GO HOME AGAIN the only feature film by a major director to be constructed in such a fashion.

Furthermore, as a time capsule of late-1960s/early-1970s politics, sexual dynamics and freedom from convention, it's essential. Partially improvised and partially scripted, it can come off as a glorious mess at times, shot through with madness, but the overall effect is devastating. A very real-life electricity informs nearly every sequence; it's almost painful at times. WE CAN'T GO HOME AGAIN would be the final statement of a brilliant, neglected director, but more importantly, it's one of the most audacious features to be made by a director of films such as REBEL WITHOUT A CAUSE. A masterpiece.

We Can't Go Home Again (1976)

** (out of 4)

This semi-documentary turned out to be one of the last films from director Nicholas Ray, best known for REBEL WITHOUT A CAUSE but that masterpiece was a long time ago and it's clear the man wasn't in the best of times. Ray, apparently needing money, decided to start teaching film at SUNY Binghamton and this film was basically his project for the students as they would film him and he would film them. This is one of the experimental films that really isn't about anything as we just get all sorts of scenes thrown together and probably for no good reason other than to be different or surreal. I will say that Ray manages to make the film surreal because it never makes any real sense. I'm sure those who are against all surreal moves might say that none of them make sense and their only real purpose is to make as little sense as possible. What we get to see is a group of very small vignettes by members of the cast who act out a series of events. There's a minor love story between a couple of them but it's hard to make out any real connection as everything is broken up so much. The one thing the film isn't afraid of is nudity because there's quite a bit of it. I'm guessing these film students agreed to go the extra mile because of Ray's filmmography but I'm curious how many of them regret it and especially after seeing the final film. There's even a strange sequence where one of the students walks with Ray as they discuss how each lost an eye. WE CAN'T GO HOME AGAIN is certainly a very strange film and it's only remotely interesting because of how weird it actually is. I can't say I'd ever watch the movie again but I think it has enough curious moments to make it worth viewing once.

More than a decade after directing his last feature film, "Rebel Without a Cause" (1955) director Nicholas Ray (as Nicholas "Nick" Ray) accepts a job teaching for the State University of New York at Binghamton. Believing his students will learn about film by filming, Mr. Ray and the class set about making a documentary-styled feature. They move in together, off-campus. Ray tapes the students and they tape Ray. They begin tentatively, wondering about each other and sharing random thoughts. The era's rebellious youth and tendency toward protest forms background static...

Ray sometimes wears a black eye-patch. A full frontal nude female walking into your eye view from atop a stairway is a memorable image. Tom Farrell shaves his beard in anguish. The main story involves suicidal tendencies. "We Can't Go home Again" is best when mixing two to five related images in split screen, but too often isolates only a fourth of the screen. Nobody explains much about filmmaking. Most of this will appeal to those who participated; it is a student film, after all. My take is that Ray is looking back on the startling 1960s and trying to see where he fit in, but couldn't...

**** We Can't Go Home Again (1976) Nicholas Ray ~ Nicholas Ray, Tom Farrell, Ned Weisman, Danny Fisher