Lightning Over Water

Painful but beautiful, poignant but disturbing, this film is unmissable for anyone loving Nick Ray's spirit and features. This director was not a Hollywood yes man, the common boot licker facing the moguls. His entire director life was a dog fight, and because he was a very sensitive and brilliant, intelligent but fragile man, he became a drug and many other substances addict, including sex and women. That slowly destroyed him. In this film, you watch him dying, filmed by his friend Wim Wenders. Useless to say that is not for all audiences, only die hard Nick Ray's or Wenders fans. It's more a document than a fiction feature. It's better to watch it on DVD with the director's comment, with all the indications and explanations; useless to see the "naked" movie, as it better for most of regular, ordinary movies. The thing that moved me the most was Nick's eyes, glance, the eyes of someone very intelligent, someone certainly not full of emptiness. The eyes of someone very alive. Very lucid. And believe me, this film is eveything but peeping tom oriented. No, Nick Ray totally agreed to be filmed, and not dying alone. So painful. RIP Nick.

Lightning Over Water began as a collaborative idea to tell the story of a dying painter who steals art from museums and replaces them with his own forgeries. Suffering from terminal cancer himself, Ray's health quickly deteriorates during the project. The film eventually ceases to be a work of fiction and becomes a documentary of Ray's finals days in which he fittingly spends making film. In reflecting over his career and life, Ray ponders his successes and failures as a film maker who is best known for Rebel Without a Cause (1955). A poignant and often disturbing film, Lighting Over Water is ultimately a painful homage to a film maker and to a friend (Klaus Ming March 2013).

Nicholas Ray is dying when Wim Wenders come to visit him. They start to make a motion picture about his death.

With Wenders and Ray credited as co-directors, I'm left with the question of who is in charge. I'm left with the conclusion that it must be Wenders, and then with another question: what is it about? I think it's a love letter from one quirky and independent director for a friend who was also a quirky director, and the baffling and often filing efforts to make films that say something about something.

Does it succeed? As a love letter, yes.

As for the rest, I just don't know. Which is probably how Wenders feels.

In 1977,Nicholas Ray was part of the cast of "der Amerikanische Freund" as Derwatt,a painter who made forgeries .In this movie,Ray tells the story of a painter who steals the masterpieces in the museums and replaces them with forgeries.

I have always been a Ray fan from "they live by night" to "run for cover" to "party girl" to his final epics which were looked upon by pretty much as failures.I must admit that I do not go much for Wenders' stuff ,which is much too intellectual for me .

Its not a documentary movie,it's cinema verite depicting a man who is dying.The courage the director displays in front of death commands admiration but I wonder whether this movie should have been released:it's an intimate one,which should have been reserved for the circle of family and close friends.And I'm sure that many of these prefer to keep a picture of a healthy man .

If you have seen four or five movies by Ray ("rebel without a cause" "Johnny Guitar" "The savage" ) a piece of advice:try and see the lesser known Ray works:"wind across the everglades "born to be bad" "on dangerous ground" or "knock on any door" .The best homage to an exceptionally gifted director.

There are two good moments in "Lightning over water":

The "lusty men" extract happens to be my favorite in this classic:Mitchum come s back home,an old house where he finds back a comic and a money box:In "Lightning " ,Ray hints at "coming back home,seeing my mother's face" Childhood was an obsession in his work :just remember Dean playing in the gutter ("Rebel) or Cagney trying to make Derek his "son" in "run for cover" .

THe diary which Wenders reads is in German which makes sense since it's his first language;the shots of the wings of the plane are fascinating.

Two video versions of this film exist, both roughly the same length. The first was released by Pacific Video on VHS in 1987, the second just this month (1/03) by Anchor Bay on DVD. According to Kathe Geist's book "The Cinema of Wim Wenders: From Paris France to Paris Texas," Wenders was so depressed by the filming of "Lightning" and Ray's death that he handed the footage over to his editor, Peter Przygodda, who spent a year fashioning it into a version shown at Cannes; apparently this is also the version released by Pacific Video in 1987 and which I first saw around that time (and have watched many times since). Wenders supposedly found this version obscure and depressing and re-edited, adding a voiceover (his own) and superimposing passages from Ray's diary; this is the version just released on DVD, and is considered by some the definitive edition. But I find Wender's criticism of the initial cut confusing, for it's the LATTER cut (his own) which is murky and depressing. Nick Ray's final scene, for example ("Cut...Don't Cut.") is tortuous (we're watching a man dying), and there are sequences edited so bizarrely as to be almost incomprehensible. The first cut, in contrast, has a narrative flow and progression that make it easier to absorb, though it's still tough going as we witness Nick Ray's suffering. Also, Wender's narration in the 2nd version (absent in the initial cut) actually adds little to the film. The first version is unfortunately out of print but is worth tracking down because it's the superior one.