'One Flew Over the Cuckoo's Nest': The Forces of Trolling v.s. Controlling

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: ?