Nicholas Ray (born Raymond Nicholas Kienzle Jr., August 7, 1911 – June 16, 1979) was an American film director, screenwriter, and actor. Considered one of postwar American's most gifted, and ultimately, tragic filmmakers, he often clashed with the Hollywood studio system of the 1940s and 1950s, but would ultimately, influence future generations of filmmakers.
His best known work is Rebel Without a Cause (1955), starring James Dean, in his final role. He also directed They Live By Night (1948), In a Lonely Place (1950), Johnny Guitar (1954), Bigger Than Life (1956), and King of Kings (1961). Throughout the 1970s, he produced the experimental We Can't Go Home Again (1973), which was unfinished at the time of his death.
During his lifetime, Ray was nominated for the Academy Award for Best Story for Rebel Without a Cause, twice for the Golden Lion, for Bigger Than Life (1956) and Bitter Victory (1957), and a Palme d'Or for The Savage Innocents (1960). Three of his films were ranked by Cahiers du Cinéma in their Annual Top 10 Lists.
Ray's compositions within the CinemaScope frame and use of color are particularly well regarded and he was an important influence on the French New Wave, with Jean-Luc Godard famously writing, "... there is cinema. And the cinema is Nicholas Ray."Godard, Jean-Luc (1958). "Au-dela des étoiles," Cahiers du cinéma 79 (January); translated as "Jean-Luc Godard: Beyond the Stars," in Cahiers du Cinéma: The 1950s. Neo-realism, Hollywood, New Wave, ed. Jim Hillier. London: Routledge and Kegan Paul, 1985, p. 118.
Early life and career Ray was born in Galesville, Wisconsin, the youngest of four children and only son of Olene "Lena" (Toppen) and Raymond Nicholas Kienzle, a contractor and builder. He grew up in La Crosse, Wisconsin.A popular but erratic student prone to delinquency and alcohol abuse, with his alcoholic father as an example, at age sixteen Ray was sent to live with his older, married sister in Chicago, Illinois, where he attended Waller High School. Upon his return to La Crosse in his senior year, he emerged as a talented orator, winning a contest at local radio station WKBH (now WIZM) while also hanging around a local stock theater.
With strong grades in English and public speaking alongside failures in Latin, physics, and geometry, he graduated at the bottom (ranked 152nd in a class of 153) of his class at La Crosse Central High School in 1929. He studied drama at La Crosse State Teachers College (now the University of Wisconsin–La Crosse) for two years before earning the requisite grades to apply for admission to the University of Chicago in the fall of 1931. Although he spent only one semester at the institution because of excessive drinking and poor grades, Ray managed to cultivate a relationship with dramatist Thornton Wilder, then a professor.
Ray returned to his hometown and started the La Crosse Little Theatre Group, which presented several productions in 1932. He also briefly re-enrolled at the State Teachers College in the fall of that year. Before his stint at Chicago, he had contributed a regular column of musings, called "The Bullshevist," to the Racquet, the college's weekly publication, and resumed writing for it when he returned, but, according to biographer Patrick McGilligan, Ray, with friend Clarence Hiskey, also arranged meetings to organize a La Crosse chapter of the Communist Party USA. By early 1933, he had left the State Teachers College and began to employ the moniker of "Nicholas Ray" in his correspondence.McGilligan, pp. 28–32.
Through his connections with Thornton Wilder and others in Chicago, Ray met Frank Lloyd Wright at Wright's home, Taliesin, in Spring Green, Wisconsin. He cultivated a relationship with Wright in order to win an invitation to join "the Fellowship," as the community of Wright "apprentices" was known. In late 1933 Wright asked Ray to organize the newly built Hillside Playhouse, a room at Taliesin dedicated to musical and dramatic performances. There, at regular film screenings often encompassing foreign productions, Ray likely had his first exposure to non-Hollywood cinema. However he and his mentor had a falling-out in spring 1934 with Wright directing him to leave the compound immediately.McGilligan, pp. 32–44.
While negotiating with Wright, Ray visited New York City, where he had his first encounters with the political theatre growing in response to the Great Depression. Ray joined the Workers' Laboratory Theatre, a communal troupe formed in 1929, which had recently changed its name to the Theatre of Action. Briefly billing himself as Nik Ray, he acted in several productions, collaborating with a number of performers, some of whom he later cast in his films, including Will Lee and Curt Conway, and some who became friends for life, including Elia Kazan.Eisenschitz, pp. 22–25. He was subsequently employed by the Federal Theatre Project, part of the Works Progress Administration. He befriended folklorist Alan Lomax and traveled with him through rural America, collecting traditional vernacular music.Deutsch, James I., and Lauren R. Shaw, "Citizen Nick: Civic Engagement and Folk Culture in the Life and Work of Nicholas Ray," in Lonely Places, Dangerous Ground: Nicholas Ray in American Cinema, ed. Steven Rybin and Will Scheibel, Albany: State University of New York Press, pp. 110–15. ISBN 978-1-4384-4981-4 In 1940–41, Lomax produced and Ray directed Back Where I Come From, a pioneering folk music radio program featuring such artists as Woody Guthrie, Burl Ives, Lead Belly, the Golden Gate Quartet, and Pete Seeger, for CBS. American folk songs would later figure prominently in several of his films.
During the early years of World War II, Ray directed and supervised radio propaganda programs for the United States Office of War Information and the Voice of America broadcasting service under the aegis of John Houseman.Nicholas Ray on Encyclopedia Britannica. Retrieved February 23, 2020. In the summer of 1942 Ray was investigated by the FBI, and was given its B-2 classification of "tentative dangerousness." Additionally, Director J. Edgar Hoover personally recommended "Custodial Detention." Though Hoover's scheme was later quashed by the Justice Department, in autumn 1943 Ray was among more than twenty OWI employees identified publicly as having Communist affiliations or sympathies, noting that he was "discharged from the WPA community service of Washington DC for Communist activities." The FBI soon determined the case of "Nicholas K. Ray," however, "as not warranting investigation."Quoted in Eisenschitz, p. 70, McGilligan, pp. 97–98, 103–04, 519. At the OWI, Ray renewed his acquaintance with Molly Day Thatcher, Houseman's assistant, and her husband, Elia Kazan, from the New York theatre days. In 1944, heading to Hollywood to direct A Tree Grows in Brooklyn, Kazan suggested Ray go west, too, and hired him as an assistant on the production.
Ray directed his first and only Broadway production, the Duke Ellington-John Latouche musical Beggar's Holiday, in 1946. Earlier that year he was assistant director, under director Houseman, of another Broadway musical, Lute Song, with music by Raymond Scott. Also through Houseman, Ray had the opportunity to work in television, one of his few forays into the new medium. Houseman had agreed to direct an adaption of Lucille Fletcher's radio thriller, Sorry, Wrong Number, for CBS, and took Ray on as his collaborator. They cast Mildred Natwick as the invalid woman who thinks that she's the object of a murder scheme she overhears on her phone. When Lute Song called on Houseman's time and attention, Ray took over the task of staging the broadcast, which aired on January 30, 1946.Eisenschitz, pp, 82–83.McGilligan, pp. 114–15. The next year, Ray directed his first film, They Live by Night (1949), for RKO Pictures.
Hollywood They Live By Night was reviewed (under one of its working titles, The Twisted Road) as early as June 1948, but not released until November 1949, due to the chaotic conditions surrounding Howard Hughes's takeover of RKO Pictures. As a result of the delay, the second and third pictures Ray directed, RKO's A Woman's Secret (1949) and Knock On Any Door (1949), a loan-out to Humphrey Bogart's Santana Productions and Columbia, were released before his first.
Almost an impressionistic take on film noir, starring Farley Granger and Cathy O'Donnell as a thief and his newlywed wife, They Live By Night was notable for its empathy for society's young outsiders, a recurring motif in Ray's oeuvre. Its subject matter, two young lovers running from the law, had an influence on the popular movie sub-genre involving a fugitive criminal couple, including Joseph H. Lewis's Gun Crazy (1950), Arthur Penn's Bonnie and Clyde (1967), Terrence Malick's Badlands (1973), and Robert Altman's 1974 adaptation of the Edward Anderson novel that had also served as the basis for Ray's film, Thieves Like Us. The New York Times gave They Live By Night a positive review, praising Ray for "good, realistic production and sharp direction."Crowther, Bosley. "They Live by Night" New York Times November 4, 1949
Ray made several more contributions to the noir genre, most notably In a Lonely Place (1950), starring Humphrey Bogart as a troubled screenwriter suspected of a violent murder, and On Dangerous Ground (1951), in which Robert Ryan plays an alienated, brutally violent detective on a city police force who finds redemption, and love, after he is sent to investigate a murder in a rural community.
While at RKO, Ray also directed A Woman's Secret, co-starring his wife-to-be Gloria Grahame as a singer who becomes the subject of a crime and an investigation of her past, and Born to Be Bad (1950), with Joan Fontaine as a San Francisco social climber.
In January 1949, Ray was announced as set to direct I Married a Communist, a litmus test that RKO head Howard Hughes had concocted to weed out Communists at the studio. John Cromwell and Joseph Losey had previously turned it down, and both were punished by the studio and subsequently blacklisted. Soon after the public announcement, and prior to the start of production, Ray stepped away from the project. While the studio considered dismissing him or suspending him, instead it extended his contract, evidently with Hughes's consent. As late as 1979, Ray credited Hughes with saving him from being blacklisted, although it's also likely that Ray wrote to the House Committee on Un-American Activities about his political past or testified in private, in order to protect himself.Eisenschitz, pp. 123–25; McGilligan, pp. 167–70, 210–11.
His final film at the studio, The Lusty Men (1952), starred Robert Mitchum as a champion bronco rider who tutors a younger man in the ways of rodeoing while becoming emotionally involved with his reckless protégé's wife.Eisenschitz, p. 479. After leaving RKO, Ray signed with a new agent, MCA's Lew Wasserman, a major Hollywood force, who steered the director's career through the 1950s, with films such as Johnny Guitar (1954) and Rebel Without a Cause (1955).
After shooting another Western, Run For Cover (1955), starring James Cagney, Ray was hired to direct High Green Wall for G. E. Theater, the anthology series produced by MCA-Revue, a subsidiary of Wasserman's agency. High Green Wall was an adaptation, by Charles Jackson, of an Evelyn Waugh story, "The Man Who Liked Dickens," about an illiterate man (Thomas Gomez) who holds a stranded traveller (Joseph Cotten) captive in the jungle, forcing him to read aloud from Dickens novels. Shot on film over a few days following a week's rehearsal, the half-hour drama was broadcast on CBS on October 3, 1954. Ray never worked in broadcast television again, and rarely spoke of the program, later expressing his disappointment with it.Eisenschitz, pp. 220–28.