It's been nearly 2 years since MMFR was released, so might as well take a look back now...
It's hard not to have Mad Max: Fury Road grow on you as time goes by. I loved it when I watched it back in 2015, but perhaps even more so now I've seen the film a couple more times. Elements I'd always appreciated were the fantastic technical elements, everything is so on point in terms of the aesthetic of the grimy but strangely beautiful surroundings and the character's costumes and especially makeup; the fast-paced editing, beautiful direction by George Miller, that heart-pounding score, and the wonderful action sequences. However, I don't think I've ever quite given other aspects of the film the credit they deserve. Acting on all fronts is actually pretty terrific, making it one of the best ensembles in recent memory. I've always thought Theron and Hardy were very good in their respective roles, but again, with time I've come to really admire how they craft such understated arcs into their stoic and determined characters, and create such an impactful chemistry in such a short span of time. And the Wives are all wonderfully acted too, especially Abbey Lee and Riley Keough who I'm glad to see making recent breakouts, and the villains, from Immortan Joe to the obnoxious Slit, are all delightfully sleazy and hateful villains.
Then there's the script which I'd also underappreciated at first, it's a simple plot, essentially one long back-and-forth chase sequence, but there's such a conciseness to how it zips past like on of those wonderful cars on the Fury Road, and there's so many quotable lines like 'MEDIOCRE' and 'AND NOW WE BRING HOME THE BOOTY!' and 'I thought you weren't insane anymore', and of course lines delivered by a very special someone who I'll get onto in a bit. Then the character dynamics which is perhaps what the film excels at most, is quite something to behold, there's so many relationships going on at each point in the film but you get such a distinct and memorable impress of how they're formed, and why they're sustained, even with the brisk pace of the film and all.
Which brings me to my topic today: Nux, played by Nicholas Hoult. This is truly a performance that defies description, and I'll be honest when I first watched the film, I was impressed but somewhat neglected how much of an impact he'd made on me. The film as a story about Max regaining his humanity through helping Furiosa, and Furiosa's drive to make amends for her past, works powerfully enough anyway, but director George Miller and his co-screenwriters Brendan McCarthy and Nick Lathouris have another trick up their sleeves. The concept of the War Boys, made to fight for the evil Immortan Joe and die glorious deaths on the Fury Road so they can go to 'Valhalla', some far-off heavenly place far removed from their tortuous, cancer-ridden existence, is a unique one to say the least, and one which is set up to establish some colourful and fearless henchmen, so it seems.
From the first moment we see Nux, it's quite a sight to behold: a weakened, half-dead soul propped up by an (involuntary) blood donation by Max, who comes to life when hearing that Immortan Joe has a mission for the War Boys, to get their hands on Furiosa who has 'taken a lot of stuff' from him. Watching the light in Nux's eyes flash and burn as he regains purpose in life is something to behold in Hoult's performance, all culminating in those immortal lines 'we take my blood bag!', and 'if I'm gonna die, I'm gonna die historic on the Fury Road'.
The next few sequences are some of the most amazing action sequences in film history, but what's great is that through this all the script and Hoult bother to continue creating this development of Nux as a character. 'What a day! What a lovely day!' is a brilliant and exciting line to say the least that really pumps you up, but it wouldn't have quite the impact if not for how the script makes Nux such a madcap and frenzied part of the action who stands out through his pure unbridled enthusiasm. As a collective whole, you can't help but cheer for the Warboys as they watch one of their own enter Valhalla (WITNESS!'). And I love how even though they haven't exchanged a proper word with another yet, Hardy and Hoult have this odd sort of dynamic between the two as Max tries to stop Nux from messing up his car and killing the two of them, while Nux has a strange sort of affection for his 'blood bag' while technically trying to get them both killed the whole time. It's frenzied fun for all (well, besides Max, obviously).
Even in scenes where he's not quite the focus, for example in scenes dominated by the initial antagonism between Max and Furiosa, or the Bullet Farmer scene, Nux remains quite the compelling presence as just this sweet if sometimes a bit misguided little boy who tries his best to be helpful, but often failing. Then in the scenes where he gets focus he makes quite the unique impact as a henchman figure. We've gotten to see the frenzied, crazy and rather entertaining side of Nux as a fun side character, but we get more depth in the scenes where Nux, abandoned by Max, Furiosa and the Wives and returning to Immortan and Co.. The way the character reacts to being told that he'll ride 'shiny and chrome' to the gates of Valhalla once he's completed Immortan's mission, and his miserable failure afterwards, is darkly funny in one sense, and incredibly sad in the other.
Which brings me to the best part of Hoult's performance, and the conception of the character. Watching the film for the first time, I thought they were going to kill off Nux around the halfway mark as another obstacle along the way, but no, he stays, and to what incredible effect. In a brief but very effective relationship between himself and one of the wives, Keough's Capable, we get such a vivid portrait of a young man who's never known anything but pain and suffering in the world, finding just the smallest but warmest modicum of kindness from a complete stranger. Even as w see the development of his camaraderie and warmth with the rest of the group, Hoult and the screenplay never lost sight of the character's comical edge, and little scenes like him eating an insect, not knowing what a tree is are as delightful as lines like 'feels like hope' are so powerful.
The end comes from Nux, and I'll admit I did not see it coming the first time round, at least not in the way it does arrive. I was saddened by the death of Nux, but subsequent re-watches have made me appreciate just how devestating the character's departure is. His final scene may well be my favourite scene in the film, just by how melancholic and bittersweet it all is: the Wives are free, but many of our heroes have died, and Furiosa is on the cusp of death. As Rictus awakes, and lunges at the Wives, Nux hits the brakes, that beautiful music kicks in: 'Witness Me' takes on an entirely new meaning.
Really, this is an aspect of the film that I think should be studied and appreciated on all levels. It brings an all-new meaning to the word sidekick, as this sidekick entirely steals the film away on his shoulders, and it's already a great film as it is. It earns its place not only among the great supporting characters in film history, but also the all-time great characters, period.
This is definitely a very interesting film to revisit as the years go by as a millenial; though our backgrounds may be different, there's a lot we can all relate to in Benjamin Braddock. He's a bit awkward and unsure of what to do with himself, mildly disillusioned but not quite to the extent that he's prepared to do anything radical with himself. He's also torn between two women, Katherine Ross's Elaine Robinson and her mother, Anne Bancroft's Mrs Robinson, a choice that not many of us will ever have to face, but it's certainly a difficult dilemma to be in. Anyway, beyond that, there's so much we can see in Benjamin's predicament that reflects the current condition; there's many times when I feel a bit aimless and uncertain about what lies ahead beyond my university degree, like ol' Benjamin. Life has given him everything he needs to succeed, really: a supportive family, wealth, great education, intelligence, smarts. Perhaps not so much in conventional good looks and height - looking back, it was pretty daring of Mike Nichols to cast such an off-kilter leading man in Dustin Hoffman - but anyway, Benjamin is placed in a very good position to make something of himself, but really he just seems pretty indifferent to everything. He's not exactly depressed, he's not exactly lifeless or humourless, he's just kind of...there.
As I've mentioned, it was pretty daring of Nichols to make such an offbeat choice for his leading role in the unproven, unknown Hoffman over the actors the studio wanted - among them Robert Redford and Burt Ward - but thank goodness for them making the one and only right choice. Hoffman is pure brilliance as Benjamin, and it's only the powerhouse performances of Sidney Poitier, Rod Steiger, Alain Delon and Robert Blake that keep him from a deserved win in the competitive year of 1967. The film requires him to make Benjamin an underdog, but not necessarily a wholly endearing one, while still being very funny. It's a great performance that strikes the perfect balance between being painfully awkward, awkwardly funny, and downright hilarious, especially in that now iconic hotel scene.
Another great thing about The Graduate is how much depth it gives to its apparent caricatures. Elaine is initially just another sweet love interest figure, but she gradually reveals depths as someone quite deeply conflicted by Benjamin's selfish actions, and Ross's final scene with Hoffman is a knockout (more on that in a bit). And the always great Anne Bancroft is superlative as a character that has rightfully become entrenched in the pop cultural landscape. Just the way she carries a cigar, sits in a chair, dresses and undresses, all adds up to an incredibly fascinating performance, Mrs Robinson is such an enigma, so mysterious and sexy, but at the same time to vulnerable and weak beneath that veneer of class and respectability.
Of course, none of these elements would work anywhere near as well as they do without Nichols and his great directing work, which really deserves a whole article of its own. So many things he does here is so daring, from the purposefully passionless depiction of the love scenes, to those amazing montages set to the indelible Simon & Garfunkel soundtrack (it fits so perfectly with the tone of the film, playful with a touch of melancholy), the swift tonal changes from dead seriousness to deadpan humour. And that ending is just an ingenius note to end on.
We'll be seeing a lot of Dagobah-esque training scenes. This is a very good thing, and like The Force Awakens it'll be interesting to see if they can pay homage while differentiating from the original formula in this regard. Should be interesting to see how Rey fares with her newly honed Force abilities.
Cinematography looks fabulous.
The rebel alliance will play a bigger part. Leia, and Poe Dameron were crucial but smaller parts of The Force Awakens. I see them playing a bigger role this time round with an increased focus on what they're up to.
What's up, Finn and Kylo? Last time we saw these two blokes they'd suffered greivous damage both psychologically and physically. Finn looks like he's still in process of recuperation, so I look to him to taking more of a sideline to the action sequences this time round, but also getting more involved in the dramatic side of the plot. As for Driver and Kylo, I don't know, but I'm intrigued. Glad he's ditched the mask, by the way.
Kylo breaks free of Vader's shadow. Looking to pave his own way in the world. I'm all eyes and ears.
So much that could've been. The Joker of course was an incredibly display of his immense talent, but earlier in his career he also shone in such a wide variety of roles... 10 Things I Hate About You (1999)
His Hollywood debut, though he retains his Aussie accent in this one, and a very fine debut it is. A modernization of Taming of the Shrew in a high school setting, this could've been a very problematic film due to the fact that the source material could be seen as rather dated, so to speak, in its views of relationships and gender dynamics. The film sidesteps this by being breezy and fun and never taking itself too seriously, just like the play. Ledger plays bad boy Patrick who helps sweet Cameron (his skinnier, more boyish doppelganger JGL) get the girl Bianca (Laris Oleynik) by going out with Bianca's sister Kat (Julia Stiles). It's a simple role and his character arc is fairly predictable, but Ledger is so charming and funny in the role you don't care, and that 'Can't Take My Eyes Off Of You' sequence is some terrific, old-school movie charm stuff. A Knight's Tale (2001)
A tremendously underrated film that somehow manages to pull off the combination of rock and roll and medieval jousting. Ledger's William Thatcher is not the prestigious, valiant Knight who tells tales of great sentence and devotes his life to the service of Christ in the Canterbury Tales, he's more fun and endearing than that. A squire who masquerades as 'Sir Ulrich von Liechtenstein', the film subsequently plays out a bit like Gladiator with laughs in tournament after tournament, and Ledger is just a great hero to follow throughout. He has great chemistry with his two fellow squires Alan Tudyk and Mark Addy, and the one and only Paul Bettany as Geoffrey Chaucer himself. He's a funny and foolish hero you root for, but is also very affecting when the film delves into his backstory. Monster's Ball (2001)
Short role but that's all Ledger needs to make an impact. Even if you haven't seen this film, you'll probably know about Halle Berry's daring performance as struggling single mother Leticia, whose imprisoned husband's (Sean Combs) executioner Hank (Billy Bob Thornton) comes into her life. Ledger plays Hank's son, and only appears in the opening scenes of the film, which I also feels is by far the stronger sequence. It's atmospheric, tautly scripted, and really drives home the horrible lives of our protagonists with a sense of purpose to the direction, unlike the second half which seems to meander in misery, and not in a particularly compelling way. Ledger's Sonny is a harrowing portrait of the product of emotional abuse and lack of fatherly love. His final scene is particularly painful to watch, and you really feel the weight of his exit even though it's not really the film's focus. Brokeback Mountain (2005)
If you liked Joel Edgerton's close-to-the-chest and subtle work this year, look no further than Ang Lee's iconic Western for another Aussie pulling off the difficult trick of using mannerisms to create a unique portrayal of a reserved, quiet man. Ledger's Ennis and Jake Gyllenhaal's Jack are the two most essential elements of Brokeback Mountain, without them the film would not have worked. The performance garnered him his first Oscar nomination, and it's a wholly deserved one; in fact, as impressive as Philip Seymour Hoffman's work as Capote was, I think Heath would have also deserved to win that year. It's such a subtle performance that grows throughout the film in such an understated way, yet when it hits you emotionally, it really makes an impact. He has great quiet chemistry with Gyllenhaal, helps lift the more weakly scripted side of the film when the two are parted, and his final few scenes are a tremendous portrayal of grief and regret. Casanova (2005)
In the same year he gave his subtlest performance, he also gave his most flamboyant turn as yes, a casanova in a slight but very enjoyable period piece. As Giacomo Casanova, the resident philanderer of Venice and source of the church's consternation, he's an absolute hoot every scene. As a man completely without scruples he makes for such an endearing hero even when his actions are less than savoury, and is just a whole lot of fun to watch throughout. It's nice to see him have so much fun in a comical role even as he was beginning to sink his teeth into weightier material. Candy (2006)
The film is one of those tough-to-watch gritty films about drug addiction, the focus being two young bohemian lovers, Dan (Ledger) and Candy (an excellent Abbie Cornish). The film plays out a bit like a moern-day Days of Wine and Roses with drugs, and both actors are terrific in portraying how drug addiction and crime drives them apart, together, and apart again. It's a tough watch, not one I'd necessarily recommend especially taking into account Ledger's own personal troubles, but it features a particularly downplayed and realistic portrayal of a conflicted addict by Ledger, plagued with not only his drug dependency but also his guilt over having dragged Candy into his lifestyle.
Requiring a re-watch: Frozen and Tangled. I should also note there's many Disney and Pixar films I like which haven't been included on here, notably Peter Pan, Sleeping Beauty etc. because though they're good films, their success is not reliant upon musical sequences. And I've decided also not to include Pixar for the timebeing just to cut things down a tad bit (but if I did, the 'La Vie En Rose' sequence from Wall-E and 'When She Loved Me' from Toy Story 2 would definitely make my top 20)
HM: 'The Phony King of England' - Robin Hood (1973)
Just one of the most enjoyable songs in the Disney canon. I love the film for all its hijinks and fun, and I think this song wonderfully encompasses the cheeky humorous touch the film treats the Robin Hood legend (and the supposed infamy of Prince John) with such entertaining levity. Pnil Harris, the one and only, carries this song beautifully.
20. 'Poor Unfortunate Souls' - The Little Mermaid (1989)
A great villainous ditty, Pat Carroll's Ursula is one of the most obvious and least subtle villains in animated film history, which is just fine because this bombastic song is just perfect for her interpretation of the character. It's so catchy but also so menacing, and makes for quite the unforgettable musical interlude, and the animation here is so on point, although you do get a bit irritated I guess at how easily Ariel is ensnared into all this.
19. 'Pink Elephants on Parade' - Dumbo (1941)
A trippy song to put it mildly, this song influenced so many other great psychedelic Disney songs, most notably Heffalumps and Woozles, but as is usually the case the first is the best. It's a delightful journey through Dumbo's disorientated mind, and is like the song above so creepy and catchy at the same time. It's technically not necessary to the film, and I shudder to think what Tim Burton will do with this sequence if he goes to an excess once again, but it's a great sequence. The use of surreal imagery and the snappy tune makes for quite something.
18. 'Can You Feel the Love Tonight' - The Lion King (1994)
This would be placed higher if not for the fact that I don't think the scene is quite perfect, it's not executed in the perfect moment (would have liked a bit more time for Simba and Nala to reconnect), and is perhaps a bit too short for my liking. Of course, nitpicks, nitpicks, because it really is quite something when it kicks into high gear. Elton John and Tim Rice's work makes this romantic ballad a particularly grand and epic one. It's effective in both its quiet and louder bits, and hits the emotional sweet spot rather well.
17. 'Out There' - The Hunchback of Notre Dame (1996)
Tom Hulce is actually a pretty good singer, IMO, and this is one of my favourite 'something more' songs. It hits just the right number of heartbreaking and inspirational notes while also just being a wonderful little tune about breaking free. Doesn't hurt that it's set to some absolutely stunning animation.
16. 'When You Wish Upon a Star' - Pinnochio (1940)
A simple sequence, and it wouldn't have gotten on here if not for the fact that it's such a perfect encompassing theme song to a masterpiece. Cliff Edwards, your voice has stayed with so many of us through all the years as perhaps the defining voice of Disney-dom.
15. 'Part of That World' - The Little Mermaid (1989)
Another 'something more' song, and while Ariel's upwards aspirations may be slightly less sympathetic than Quasimodo's, I'd say this can be quite easily forgotten by how extremely good this song is. I love, love, love how this song builds up to quite a powerful peak in such a casual way, all the while carrying such a refreshing air of innocence and lack of pretension that endears you to Ariel (Jodi Benson's voice is quite something).
14. 'You'll Be in My Heart' - Tarzan (1999)
I love Phil Collins, and I have no shame in saying that. This song is one of the most iconic from what I'd call a fairly underrated film, and really gives such a powerful connection in such a brief time to foster mother and son (Glenn Close's voice is great too). Here's hoping we can hear a rendition of this in War For the Planet of the Apes.
13. 'Reflection' - Mulan (1998)
A clever variation on the 'something more' tune, as this one is more about an individual being at loss in where she is, and unable to find anywhere else to go. It's an incredibly powerful song in such an unassuming way, and I absolutely love every second of it. It totally invests you in Mulan's desire to make something of herself beyond society's constraints, and bonus points for how it beautifully ends with a tender father-daughter moment. Lea Salonga is a Broadway legend, and I'm guessing this is a good enough example of why.
12. 'Hellfire' - The Hunchback of Notre Dame (1996)
Brilliant song in how it starts off almost like 'Stars' from Les Mis, so calm and serene and at one with God, before spiralling out of control into quite the haunting, hateful hymn against the gypsy woman who has caused Frollo to fall into despair at his own lust for her. Tony Jay's vocal performance in this is absolutely tremendous, and I think he brings more weight to this animated breakdown of one of the most complex villains ever than most live-action actors could (except of course Cecil Hardwicke).
11. 'Kiss the Girl' - The Little Mermaid (1989)
Blasphemy to put this so high, perhaps, but this just hits every spot perfectly. It's the perfect little scene that makes up for some of the underwriting of the relationship between the Prince and Ariel. I can't really explain why one loves this song so much, I just do.
10. 'The Bare Necessities' - The Jungle Book (1967)
One of the most iconic Disney songs for a very good reason, it's an absolute banger. You'll just want to dance along and relax with Baloo and Mowgli after listening to this simple but really, quite brilliant song that makes the Jungle seem like heaven on Earth.
9. 'Be Prepared' - The Lion King (1994)
Very, very close to being the greatest Disney villain song of all-time. Whoever thought up the idea of getting Jeremy Irons to do some singing was a genius, his eloquent, velvety voice (unparalleled amongst any living actor I'd argue) making for such a sensuous invocation to partaking in such terrible deeds in his name. This song is the scene where Scar reveals what he's all about, and I love how it starts in such a playful fashion, before descending into an extremely bitter and hateful rant against the world and decades of denial.
8. 'The World's Greatest Criminal Mind' - The Great Mouse Detective (1986)
Who could top Jeremy Irons but Vincent Price? The horror icon's casting in this (I must say this again) incredibly underrated cartoon reimagining of Sherlock Holmes as effectively, a rat (but don't call him that) Moriarty, Rattigan, is pitch-perfect. The song is so whimsical and catchy to begin with, even quite moving in the middle, switches over into quite the scary (for a kid's film) sequence, and I absolutely love how it just carries on afterwards, but with just a touch more sick menace to its tune after showing what a callous bastard Rattigan can be. It's a grand tune that should be more beloved than it is.
7.'I Wan'na Be like You' - The Jungle Book (1967)
Now I thoroughly enjoyed Christopher Walken's rendition of this in last year's live-action remake, but this version is still king. Louis Prima's King Louie has such a unique singing voice that's impossible to recreate, and makes this song so one-of-a-kind, and when Phil Harris' Baloo comes on scene to go head-to-head, it's kinda like Pacino and De Niro meeting in Heat in its pure awesomeness.
6. 'Under the Sea' - The Little Mermaid (1989)
My thoughts on this are essentially like the song above. I can't imagine how anyone wouldn't want to live under the sea after listening to this song which is just pure joy on all levels. Samuel E. Wright's creation of Sebastian is just one-of-a-kind, and I really don't see how a live-action remake, when they come around to inevitably making it, can possibly work when they have this song to live up to.
5. 'Beauty and the Beast' (both versions) - Beauty and the Beast (1991)
I should note I think the new version of Beauty and the Beast by Emma Thompson is one of the weaker songs in the remake. It's okay but feels very much like a pale imitation of something great. This, however, the real deal, is quite amazing. The animation in this scene is first and foremost absolutely stunning, especially for its time. The song is grand and elagant but also very warm, and the great Angela Lansbury makes it the perfect summation of a great film. Plus, the pop version by Celine Dion and Peabo Bryson is awesome, too!
4. 'Circle of Life' - The Lion King (1994)
An epic, awesome, upbeat, rousing start to what is essentially an animated Shakespearean epic. What's not to like? The perfect alarm song as well if I may add.
3. 'A Whole New World' - Aladdin (1992)
The best Disney romantic ballad of them all, this is technically a song about two young lovers flying around on a magic carpet, yet the song beyond just conveying the beauty of that moment in time, seems like it's about something much greater. It gives such a vast sense of power and awe-inspiring joy at discovering a whole new world. Just great stuff.
2. 'Son of Man' - Tarzan (1999)
For the final two it came to a head-to-head of montages. This montage featuring the growth of young Tarzan into a man, is an incredible song and a great example of Phil Collins' talents as a musician. It perfectly captures what makes Tarzan king of the jungle so concisely and eloquently, and more importantly the stunning animation and great tune complements one another perfectly.
1. 'I'll Make a Man Out of You' - Mulan (1998)
One of the greatest songs of all-time, and I'd argue that this actually rivals Rocky in the 'inspirational training montage' stakes. In fact, I think the film (which is good but not great) is enhanced in my opinion by this scene alone, which makes Mulan's journey against the odds at training camp something so powerful to root for. I love how the song begins as a truly inspirational ode to the army, has some hilarious comedic interludes by its comic relief trio, becomes quite sad as we watch Mulan fail at all the military tasks, and end on such a high note by her incredibly upwards climb to gaining the respect of her fellow soldiers.
'I'll Make a Man Out of You' - Mulan (1998)
'Son of Man' - Tarzan (1999)
'A Whole New World' - Aladdin (1992)
'Circle of Life' - The Lion King (1994)
'Beauty and the Beast' (both versions) - Beauty and the Beast (1991)
'Under the Sea' - The Little Mermaid (1989)
'I Wan'na Be like You' - The Jungle Book (1967)
'The World's Greatest Criminal Mind' - The Great Mouse Detective (1986)
'Be Prepared' - The Lion King (1994)
'The Bare Necessities' - The Jungle Book (1967)
'Kiss the Girl' - The Little Mermaid (1989)
'Hellfire' - The Hunchback of Notre Dame (1996)
'Reflection' - Mulan (1998)
'You'll Be in My Heart' - Tarzan (1999)
'Part of Your World' - The Little Mermaid (1989)
'When You Wish Upon a Star' - Pinnochio (1940)
'Out There' - The Hunchback of Notre Dame (1996)
'Can You Feel the Love Tonight' - The Lion King (1994)
'Pink Elephants on Parade' - Dumbo (1941)
'Poor Unfortunate Souls' - The Little Mermaid (1989)
'The Phony King of England' - Robin Hood (1973)
'Something There' - Beauty and the Beast (1991)
'Friend Like Me' - Aladdin (1992)
'I Just Can't Wait to be King' - The Lion King (1994)
'Let Me Be Good to You' - The Great Mouse Detective (1986)
'Two Worlds' - Tarzan (1999)
'Welcome' - Moana (2016)
'Strangers Like Me' - Tarzan (1999)
'Be Our Guest' - Beauty and the Beast (1991)
'Gaston' - Beauty and the Beast (1991)
'How Far I'll Go' - Moana (2016)
'Everybody Wants to be a Cat' - The Aristocats (1970)
'Heffalumps and Woozles' - Winnie the Pooh (1977)
'Whistle-Stop' - Robin Hood (1973)
'Cruela de Vil' - 101 Dalmatians (1961)
'Heigh-Ho' - Snow White and the Seven Dwarves (1937)
'The Siamese Cat Song' - Lady and the Tramp (1955)
'The Sorcerer's Apprentice' - Fantasia (1940)
'Zip-a-Dee-Doo-Dah' - Song of the South (1946)
'The Wonderful Thing About Tiggers' - Winnie the Pooh and the Blustery Day (1968)
April Fools and all that, I thought for a while about what I might cover one of those all-time great films I've never quite gotten around to covering in full detail. One Flew Over the Cuckoo's Nest is a rather appropriate film to re-watch on this date, I'd say, since it features one of the biggest onscreen/off-screen trolls in film history Jack Nicholson in his career-defining role as Randle McMurphy, and another one of the greatest trolls in film history in Will Sampson's Chief. It also features one of the most oppressive and domineering figures in cinema, Nurse Ratched, played to perfection by Louise Fletcher. The film's dynamic hinges on establishment v.s. anti-establishment, order v.s. disorder, and it's endlessly re-watchable because of how compelling this conflict is.
I've always loved the film, which came out in one of the great film years of 1975, but I'll admit I may have unintentionally overshadowed it with my discussion of my two favourites of that year, its fellow Best Picture nominees Jaws and Dog Day Afternoon. Those two are undoubtedly the greater cineamtic achievements in terms of direction and innovation. Yet, like Rocky in the year after this, the big winner of the Oscars that year has a very unique and distinct appeal of its own that despite being more understated and less flashy than the films it beat out. It's a great film in its own right, and I may have underrated it up till this point.
Czech director Miloš Forman would go on to greater heights in terms of individual direction with his second Oscar win for the masterful Amadeus, but it's interesting to contrast his grand epic work there with his work here. Both films have scenes set in a sanitarium, and are based on existing source material, and feature great performances all-round, but they could not be more different otherwise. One Flew Over the Cuckoo's Nest opens at the most leisurely pace imaginable as we are introduced to the lifestyle of the patients at the hospital.
This peacefulness is soon interrupted by the entrance of McMurphy. The entrance of Jack Nicholson into the film could not be more perfect. Like Al Pacino in the same year in Dog Day Afternoon, he goes all out from his first scene in establishing just who the character is. He's a dynamic ball of energy who seems to be all the more energized by messing about with people. I always wish the two didn't give their career-best work in the same year so I could pick Pacino for my win without question, or Nicholson for my win without guilt. Nicholson's work as McMurphy is the most brilliant utilization of his one-of-a-kind screen persona, which I don't think he ever nailed as well as he did here.
This is one of those films that's endlessly re-watchable because of its central performance, and credit certainly must go to Nicholson for absolutely dominating the screen and the other patients at the hospital through his energetic and rebellious presence. Of course, unlike say Save the Tiger, this never becomes just a Jack Nicholson showcase. Forman and his cast have a few more tricks up their sleeves that make this into a pretty great film.
One of these hidden surprises is in Fletcher. The way Nurse Ratched controls the institution is through a passive aggressive dynamic. She's never sunny and cheery, but somehow manages to make herself a comforting presence to many of the patients while also being a subtly oppressive presence. Each scene where she chats to the patients in a circle involves marvellous work by both Fletcher and Nicholson as the tense energy between the two makes for some truly iconic sequences, particularly in the scene where they debate over the patients being allowed to watch baseball. These scenes are often very funny, but also rather troubling (in a good way) to the viewer since there's such an undercurrent of hate and disregard on both sides of the conflict, and also if you've seen the film before you know it all won't end well.
The two Oscar-winners from the film are its highlights, but that's not to discredit the work of its stellar ensemble as well. The cast is filled with delights, from early turns from Danny DeVito and Christopher Lloyd as respectively the most gentle and most abrasive patients at the institute, William Redfield in his last performance as the pseudo-intellectual Dale Harding, Sydney Lassick's poignant work as the childish Charlie Babbit, even Vincent Schiavelli and William Duell make an impression in smaller roles. The standouts I'd say are the most important patients in McMurphy's life.
Brad Dourif as Billy Babbit is absolutely heartbreaking and naturalistic in the role of the stuttering young man who builds up confidence only to have it completely shattered by Ratched (an amazing scene for both Dourif and Fletcher).
And Will Sampson as Chief is a delight. I've talked so much about the performances for this review, but that's because this film is all about the acting. Everything else, even the screenplay (loosely based on Ken Kesey's novel, which is very good but in a different way) I'd argue, is very solid but routine, but it's the acting that pushes it up so many notches. Sampson and Nicholon share some of the best scenes in the film, Sampson's quiet endearing approach to the loveable giant Chief and the delightful and infectious excitement of McMurphy building up to the most heartwarming and tragic scenes in the film. And that ending is made so powerful because of that terrific dynamic between the two.
One Flew Over the Cuckoo's Nest 2010s Cast Directed by David Mackenzie Randle McMurphy: Ben Foster Nurse Ratched: Sarah Paulson Chief: Gil Birmingham Billy: Anton Yelchin would've been perfect, or Evan Peters Charlie: Joe Lo Truglio Harding: Glenn Howerton Max: Keegan-Michael Key Martini: ?
