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Milos Forman has always had a knack for assembling tall ensemble casts. This is particularly suitable in his most critically acclaimed releases (Taking Off, Amadeus and this film) . It would be difficult indeed to advance up with actors and actresses who were better fine to believe the roles in OFOTCN. This is apt in terms of both the stars, Jack Nicholson and Louise Fletcher, and the secondary characters. Who could have been a better Harding than William Redfield? A better Billy Bibbit than Brad Dourif? A better Cheswick than Sydney Lassick? And most especially, a better Chief Bromden than Will Sampson?
I foul this movie as the best of the best of what I assume to be American Cinema’s golden decade, the 70s. It certainly won the widest acclaim, with its sweep of the major Oscars for 1975 (Nicholson also won best actor from the Fresh York Film Critics voters that year) .
Not to be overlooked is the astounding job performed by the film’s adaptors, Bo Goldman and Lawrence Hauben, who also won Oscars for their screenplay. Legal, they did have a fairly decent stage version (by Dale Wasserman) to work with. I remember seeing an suited production of the play, with a terrific cast, in San Francisco circa 1972. Impartial as an aside, I read in the Norton Significant edition of the unique, a review of a NY production of the play by Walter Kerr that was an absolute pan. Suffice it to say that the movie is distinguished different than either the recent or the play. Those familiar with Kesey’s gargantuan unique understand how difficult a transfer from page to hide would be; about a third of the yarn is Bromden’s delusional interior monologue. The final script, quite rightly, focuses almost exclusively on Randal P McMurphy’s struggle with Nurse Ratched for the hearts and minds of the inmates.
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This is truly a gut and soul-wrenching movie, with many moments of high maniacal comedy interspersed. Though many of his other films are righteous, this is Forman’s masterpiece. If you haven’t read the book, read it. It you don’t gain this movie, choose it. There are few works in the history of American literature and film that are helpful.
One Flew Over the Cuckoo’s Nest (1975)
The film One Flew Over the Cuckoo’s Nest is adapted from a recent of the same name written by Ken Kesey. The movie carries with it symbolism through color, sounds, and images and the casting could not have been more capable. Jack Nicholson is cast in the lead role as Randle Patrick McMurphy, a ne’er-do-well who goes into a mental institution to attain off his jail sentence. He figures it will be more leisurely than the work farm. His nemesis is Nurse Ratched, cast and played extraordinarily by Louise Fletcher. The movie does well in incorporating feelings and colors that surround the viewer with the mental institution’s atmosphere. And the sounds and images achieve forth by director Milos Forman add to that ambiance. One of the film’s biggest successes lies in the cinematography (or lack thereof) . Virtually all the scenes, even when the inmates go outside, are bleak and boring. The lighting in the institution is the fluorescent, white-out type of lighting. Every slippery hospital surface is revealed and the viewer can almost smell the hospital cleaning fluids emanating from the shroud. The hospital has no quick-witted satisfied colors, either. It is filmed in the dusky blues and greys of the ward that resemble the patients’ despair. The patients are dressed in shaded grey as well and the nurse, as always, wears stark white. The nurse’s appearance also holds symbolism in it. Her uniform is always perfectly pressed. And her hat is always on straight. She represents order and authority, and her uniform is one symbolic affect of that order. It totally contrasts the patient’s mien – always disheveled, wearing demeaning hospital robes. The director uses wonderfully disenchanting sounds to represent to the audience the afflict and helplessness of the patients. One patient is constantly remarking how tired he is and other characters are constantly stuttering and “acting exclusive.” Random yells echo throughout the halls. The echo allows for the hospital’s feeling of emptiness and loneliness and gives it a cavernous feel. Its halls are never ending and flee from this institution is futile. The echoes bounce off every surface, trapping each patient in their absorb madness. The consume of hospital noises and colors add to the realistic scenery of the film. It is masterfully done, and each audience member is forced to go through the injure and despair of the patients. The subject matter has always been one I like. The ragamuffin character comes in and saves all the horribly despondent people from pure emotional hurt. As if those patients didn’t have it dreadful enough, they are constantly being controlled by the Tremendous Nurse. She represents order, authority – the Establishment. And these awful souls are putting their lives in her hands, only for her to assume advantage of them. Milos Forman puts this sage in perfect visual acquire, not using too many film techniques to grasp away from the anecdote at hand. Colors, images, and sounds carried from the unusual to the veil are constant and well-done. The feeling one gets from the movie is delicously contaminated, as most asylums surely are. A phenomenal narrative by Kesey and direction by Forman, and an uncanny portrayal of McMurphy by Nicholson, allow the record to live on in visual acquire.
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