Rendező:
Miloš FormanOperatőr:
Haskell WexlerZeneszerző:
Jack NitzscheSzereplők:
Jack Nicholson, Louise Fletcher, William Redfield, Will Sampson, Brad Dourif, Sydney Lassick, Danny DeVito, Christopher Lloyd, William Duell (több)Streaming (3)
Tartalmak(1)
Patrick McMurphy-t kisebb-nagyobb csínytevései miatt elítélik. Büntetését azonban - antiszociális viselkedése miatt - nem a börtönben, hanem egy zárt osztályon kell letöltenie, ahol az ápoltak többsége saját külön zárt világában él. McMurphy megpróbál életet vinni az osztály unalmas hétköznapjaiba, megpróbálja kizökkenteni a betegeket apátiájukból és rádöbbenteni őket arra, hogy még ilyen állapotukban is ragaszkodniuk kell alapvető emberi jogaikhoz. Az ápolók azonban nem nézik jó szemmel a lázadást, és minden eszközt bevetnek, hogy megtörjék McMurphy-t. Ken Kesey nagyszerű regényének szenzációs, immár klasszikus filmadaptációja, amely bemutatása évében az öt fő kategóriában (legjobb film, legjobb rendezés, legjobb férfi és női főszereplő, valamint legjobb forgatókönyv) elnyerte az Oscar-díjat! (Fórum Home Entertainment)
(több)Recenziók (13)
Miracles happen sometimes. This low-budget film nobody expected anything from and by a director with almost no reputation, went on to become a worldwide hit, winner of five major Oscars and a pearl of world cinema. Louise Fletcher, as Nurse Mildred, is one of the most repulsive creatures and the final scene one of the most emotional and moving in the history of cinema.
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Excellent, but I can’t give it a full score, One Flew Over the Cuckoo's Nest didn’t impress me enough for that. Besides, I doubt the film was supposed to make me sympathise with the character of Louise Fletcher, and that Nicholson’s character was supposed to get on my nerves. The nuthouse is a brilliantly depressive setting, but the film never managed to transmit that very well to me as a viewer. It just failed to leave me with that unique 100% impression. 85%
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An inexpressible acting and directing concerto, based on an excellent book and a great script. It's hard to say to whom to most "attribute" the suggestiveness of One Flew Over the Cuckoo's Nest, whether the actor ensemble, who spent several weeks behind the walls of the world of "abnormality" to absorb the color there (and they succeeded perfectly), or Miloš Forman, whose sensitive and basically inconspicuous but perfectly well-established direction give the film a touch of quiet, subliminal drama, which reaches its greatest intensity in the group therapy scenes... Perhaps the most appropriate conclusion is that One Flew Over the Cuckoo's Nest is a perfectly coordinated symphony of all instruments, dominated by the solo parts of Jack Nicholson (incredibly natural and truly manic) and Louise Fletcher (whose beautiful façade hides a minimalist, gruesome interior). The quiet struggle of these two elements – the noisy bon vivant and troublemaker McMurphy and the despotic ruler of the Ratched sisters perfectly complements the smaller but all the more respectable acting party of the department's inmates. Miloš Forman moves in the world of the "crazies" with absolute clarity, with a documentary overview and flawless feeling for the inner drama of the characters. Years later, this image of individual freedom and joy of living in the midst of a world that eats its inhabitants mercilessly is still much better than everything that has been filmed on the subject (including the calculated The Shawshank Redemption).
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One of the most accomplished adaptations of a literary novel, which is absolutely fabulous in itself. Forman in his top form and with a host of exceptional actors in mostly roles of a lifetime.
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Clearly the best of Miloš Forman, the best of Jack Nicholson, and one of the most works I most admire. If I had to objectively state one film that deserves the highest rating from everyone, I would say it is indeed One Flew Over the Cuckoo's Nest. The actors compete over who does the best acting job – whether it's Randall, the head nurse, or any of the other crazies, they are all incredibly believable. For me, the best was the Indian, also because of the ending, where my jaw dropped and stayed hanging open for quite some time.
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It may be surprising in connection with the name of Miloš Forman, but his name always comes to mind whenever I think of political motifs in film-making, specifically left-wing political concepts. While his films don't feature revolutions or strike movements, nor are they simple and clear political manifestos, Forman works in a complex way with the basic ideals of intellectual leftism and depicts in his films the boundaries of human freedom, democracy, and equality. For example, in Ragtime, he explores the issue of racial emancipation, in Hair the anti-war movement, and in One Flew Over the Cuckoo's Nest, as an uninvolved observer, he follows the perennial conflict between authoritarianism, hiding behind competence and responsibility for the entrusted flock, represented by the "big" sister, and between free-thinking and anarchy represented by the volatile character portrayed by Jack Nicholson. On one hand, there is responsibility, but do we even know if those who decide are always selfless and just? On the other hand, are those who operate under the concept of absolute freedom capable of bearing the responsibility for the consequences of their actions, and would a society composed solely of McMurphys function? Wouldn't what we admire in his fight for his own rights soon be at our throats if it surrounded us? And above all, is democratic voting in a society composed of average individuals often with poor education, low intelligence, and minimal motivation the best way to govern society? Doesn't democratic choice when appointing a political position equate to voting by incapacitated patients in a psychiatric institution? From an acting, directing, and screenwriting perspective, One Flew Over the Cuckoo's Nest is one of the peaks of world cinema, and Forman has rightfully become a legend of American cinema. Overall impression: 100%.
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A truly good and interesting movie. I’m not too keen on Jack Nicholson, but here he gives an excellent performance and his McMurphy is a really great piece of acting, but equally great is Will Sampson in the role of the taciturn Chief. In fact, all of the acting performances deserve admiration. Perfect nutters :-). And Louise Fletcher as the dictatorial nurse is asking to be strangled. Forman’s masterpiece.
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There isn’t much to add. The label of one of the best films in history is very well deserved, as well as the five Oscars in the five major categories. It revitalised Miloš Forman's career in an incredible way, helping him rise to the position of a respected and successful great director. But where would this film be with a different cast? The praise here is not only due to Jack Nicholson, whose performance is brilliant and heartfelt, and I rank it among the best I've ever seen, but also to the other actors involved, who are incredible as the madmen and give the film a distinct authenticity and power. The story is precisely written and directed, Louise Fletcher is both charming and devilish at the same time, and the ending is an unforgettable experience that everyone should savour.
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An excellent film in all respects, which, like wine, matures in your head over the viewings. The combination of Milos Forman being on top form and the frantic acting of Jack Nicholson is simply mesmerising. And I could point out every aspect of the film in that same way. In short, a truly legendary piece of work.
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What more can I say about this cinematic gem when practically everything has been said. This film stands especially on the performances of the many actors involved: the bohemian Jack Nicholson, the devilish Louise Fletcher, the good-natured Will Sampson, the dim-witted Brad Dourif, all of whom give wonderful performances. It is because of them, and the oppressive mental hospital setting that almost always works, that this film the most celebrated Czech director is a cinematic gem of the highest quality. In short, a beautiful made film for which we can be truly grateful to Miloš Forman.
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As a local film reviewer who has been writing movie reviews for about 7 years, it’s quite a shame not to have written something about this 45-year-old classic. I must start by saying that Jack Nicholson is a true acting genius. He has proven this in many films, and here he confirms that when he fully immerses himself in a role, he can deliver a legendary performance that will be recorded in cinematic history. His character, McMurphy, who treats everything with humor, is full of biting remarks and always has the last word, is one of the most exquisitely written characters, and it is even better translated to the screen. But besides him, the rest of the cast doesn't just play second fiddle; the supporting characters also shine in many ways (for example, DeVito as Martini is a great showcase of his talent). Louise Fletcher, most likely a deserved Oscar winner, was fascinating to watch as her anger and indignation slowly boiled over with the increasing runtime, culminating in an inevitable explosion. And the ending is truly a genius affair; the scene by the bed with the Chief was emotionally overwhelming. It was expected, but Miloš Forman presented it with such mastery that you were left with your mouth agape. Literally. A powerful film that leaves an even stronger impact. For me, it gets 90%.
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I've had this legendary film queued up for a long time, and it took me a while to get to it. I finally saw it, and I must say, it's a truly intense spectacle. Some of the actors play their madmen absolutely brilliantly. Danny DeVito is absolutely captivating, but it's clear that the main attention is focused on Nicholson and Fletcher. I like that the conflict isn't usually direct but more like a cold war. It builds up beautifully. Each scene has its strength, even if its climax may come gradually. When you want to create hell, you don't need demons.
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The immense power of this work lies primarily in its immensely evocative delivery and its relentless final impact on the viewer's emotions. Who is actually the biggest fool here is a very difficult question for each viewer to answer for themselves. Just writing the review here now and recalling snippets of this immortal Forman flick brings tears to my eyes once again. Miloš Forman has transformed all the apparent drawbacks (the closed setting, the limited space for Nicholson, the overall feeling of detachment) into major strengths that result in a gripping emotional spectacle with Jack Nicholson in the role of a lifetime. It's hard to say who is the king of this film, Forman or Nicholson, but what is certain is that this is an exceptional film whose intrinsic value will only increase with time. What is remarkable is that such a seemingly "small", human, intimate, and actually low-budget film has managed to appeal to such a wide spectrum of audiences and academics. Ultimately, this is a "great" film, a film great in its ideas, its production, its brilliant cast, and its absolutely breathtaking conclusion.
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