Three Men of Wisconsin: We Can’t Go Home Again von Nicholas Ray

Eine regelrechte Bilderflut als avantgardistischer Ausraster, den Nicholas Ray hier nicht immer großartig, aber doch ehrlich in seiner Hilflosigkeit auf die Leinwand wirft, ist We Can’t Go Home Again definitiv eine der bizarrsten Erfahrungen, die man mit einem Filmemacher je gemacht hat. Im Österreichischen Filmmuseum habe ich selten so viele Walkouts erlebt. Ein Mann, der aus Hollywoodkino Explosionen hervorgezaubert hat, gibt seine Karriere praktisch völlig auf, um einen äußerst konsequenten und nicht immer angenehmen Avantgarde-Film zu machen. Der Film hat – wie man ihm ansieht – eine schwierige und erstaunliche Produktionsgeschichte, die man unter anderem bei Gabe Klinger besser nachvollziehen kann. Einfach und unschuldig formuliert, ist We Can’t Go Home Again ein Projekt, das Nicholas Ray zusammen mit einer Gruppe von Studenten realisiert hat.

Zunächst sollte man vielleicht das Bild beschreiben, das sich da vor einem in der Zeit ausbreitet. Es ist selten ein Bild, es sind meist mehrere Bilder, die sich aus völlig unterschiedlichen Formaten zusammensetzen. Im Hintergrund ist ein Standbild beziehungsweise eine Fotografie erkennbar, deren farbliche Intensität ungefähr zur Zeit der Filmproduktion in den 1970er Jahren passt. Darüber findet sich ein kleineres, schwarzes Quadrat, indem verschiedene kleine Bildausschnitte nebeneinander und übereinander ablaufen. An einigen Stellen verschwindet dieses Quadrat und die Größe der Bildausschnitte verändert sich. Meist sind es Fetzen, die einem hingeworfen werden, wilde Vermischungen aus politisch aufgeladenen Bildern, dem Studentenalltag (Ray hatte sich mit einer kleinen Gruppe von Verschworenen in eine abgelegene Hütte verzogen), gestellten Szenen und abstraktem Film- und Videorauschen. Visuelle Finten werden mit dem ständigen Eindruck von fragmentarischen Sprachfetzen (die Soundkulisse erinnert an Warhol-Filme), real wirkenden Erzählungen, Sexualität und einer Bewegung durch so etwas wie eine amerikanische Seele kombiniert. Es ist ein rebellischer Akt und vielleicht eines der größten Fuck-Its der Filmgeschichte. Ray, den wir bislang auch bei der Wisconsin Schau als einen zugegeben eigenwilligen Filmemacher kennengelernt haben, aber als einen systemtreuen Künstler, verabschiedet sich hier völlig aus seinem gewohnten Habitat. Darauf vorbereiten konnte einen nur Wim Wenders Lightning Over Water, der leider – so muss ich nun sagen – bereits einige Zeit vor We Can’t Go Home Again gezeigt wurde. Die Seele von Ray wurde uns schon durch seine Augen präsentiert und so konnte ich den Schock dieser Offenbarung des Filmemachers kaum mehr folgen.

We can't go home again2

Es bilden sich narrative Linien in diesem Chaos, das eigentlich keinen Platz für sie hat. Aber die wilden Zwischenschnitte auf Zuhörer, die offenbar gar nicht im gleichen Raum sind, die Manipulationen des Materials, das Figuren immer wieder in Flammen (es handelt sich dabei um einen Video Synthesizer) aufgehen lassen oder die Spuren von Sprache und Persönlichkeit, von Humor und Drama, vereinigen sich zu einem nicht immer sinnlichen, aber doch faszinierenden Mosaik von Erfahrungen, die es gegen Ende des Films tatsächlich vermögen zu einem scheinbaren Kernproblem des Filmemachers zu kommen: Wie gebe ich Erfahrung weiter? Was kann ich euch beibringen? Gleichzeitig betrachtet man hier die Lebenslinien der Studenten, die sich immer zwischen einer Fiktionalität und einer Dringlichkeit bewegt, die mit den tatsächlichen Lebensläufen der Figuren harmoniert. Dabei geht es dann tatsächlich, wie so oft bei Ray, um einen Generationenkonflikt und die Verunsicherung gegenüber einem nächsten Schritt, wohin dieser auch immer führen soll. Einer der einnehmendsten Figuren ist dabei Tom Farrell, der auch in Lightning Over Water eine wichtige Rolle spielt und später in einigen Filmen von Wim Wenders mitwirken sollte. Nicht nur seine Blindheit auf einem Auge, die ihn zu einem merkwürdigen Spiegel für den älteren Ray macht, sondern auch seine inneren Konflikte, die in der vielleicht stärksten Szene des Films kulminieren, einer Rasur, die sich zwischen fast friedlichen Bildern einer gewaltvollen politischen/sozialen Umgebung vollzieht und damit von einer inneren Flucht erzählt, die Narben hinterlässt, lassen ihn zu dieser zentralen Figur im Film werden.

Fast alle Erzählungen, denen man im Film folgen kann, handeln von einer Flucht vor der eigenen Identität. Ray selbst macht diesen Film mit Studenten, wirft alles über den Haufen und flirtet im Film gleichzeitig heftig mit Selbstmordgedanken, ein anderer Student erzählt von einer extremem Diät, eine Studentin prostituiert sich. Film entsteht hier vor unseren Augen als Manifestation einer Flüchtigkeit. Es geht um eine Unsicherheit gegenüber dem Selbst. Eine Sexszene, in der die die Frau Panik bekommt, weil ihr Partner eine Maske trägt, ist Sinnbild für diese Ängste. We Can’t Go Home Again ist ein Film, der bereits im Titel von den Konsequenzen dieser Flucht vor dem Ich und Flüchtigkeit der Identitäten erzählt, es ist ein Projekt, das in der inneren Hölle ein Paradies sucht statt – wie so oft im kommerziellen Kino – eine Hölle im Paradies zu finden. Das bedeutet, dass Ray hier wagt, in sich selbst zu blicken, um sein Leben metaphorisch zu beenden. So ganz fängt Ray das Gefühl dieser Flucht aber nicht ein, denn zu stark ist der Impetus des „Wir“ als abgegrenzte Gruppe einiger Freaks. Es ist kein Film der Identifikation und kein Film der puren Atmosphären, dennoch gelingt es ihm Bilder einer Studienerfahrung zu zeichnen, also ein Bild dessen, was sich dort zugetragen hat. Es ist nur so, dass auch diese Bilder flüchtig sind und man sie deshalb weder aufsaugen kann noch darin schwelgen will (obwohl dies bei mancher musikalischer Einlage gelingen mag), sondern sie anschauen muss.

We can't go home again3

Trotz all dieser Qualitäten wirkt der Film manchmal wie ein nerviges Kunststudentenprojekt voller Ideen, die ihre eigene Existenz mehr lieben, als so etwas wie den Film. Ohne Ray würde dieser Film gar nicht funktionieren, man würde ihn wahrscheinlich nicht anschauen. Als wildere Version von Andy Warhols Chelsea Girls oder Jean-Luc Godards Numéro deux fehlt hier – außer in den letzten Bildern des Films – jene Kapazität eines dritten Bilds, das zwischen den Splitscreen-Meditationen der beiden genannten Filmemacher zum Vorschein kommt. Es wirkt oftmals sehr willkürlich und so bleibt letztlich die Rotzigkeit des Unterfangens deutlich präsenter, als die Poesie oder das Handwerk. Doch einer Sache kann sich der Filmemacher Nicholas Ray bezüglich der Poesie dann doch nicht entziehen. Es ist die Farbe Rot, die er selbst so oft trägt, dieses pulsierende Rot, auf das er scheinbar ein Patent hat. Es tropft durch den Film, lässt manche Bilder erscheinen wie das Cover eine White Stripes-Albums und frisst sich schließlich in eine Erinnerung, die jener Flüchtigkeit entgegenwirkt, die der Film so sehr in einem hervorruft.

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