list http://www.spout.com/ Recent community activity around One Flew Over the Cuckoo's Nest on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/One_Flew_Over_the_Cuckoo_s_Nest/25463/default.aspx Title: One Flew Over the Cuckoo's Nest
Year: 1975
Director: Milos Forman
Plot: With an insane asylum standing in for everyday society, Milos Forman's 1975 film adaptation of Ken Kesey's novel is a comically sharp indictment of the Establishment urge to conform. Playing crazy to avoid prison work detail, manic free spirit Randle P. McMurphy (Jack Nicholson) is sent to the state mental hospital for evaluation. There he encounters a motley crew of mostly voluntary inmates, including cowed mama's boy Billy (Brad Dourif) and silent Native American Chief Bromden (Will Sampson), presided over by the icy Nurse Ratched (Louise Fletcher). Ratched and McMurphy recognize that each is the other's worst enemy: an authority figure who equates sanity with correct behavior, and a misfit who is charismatic enough to dismantle the system simply by living as he pleases. McMurphy proceeds to instigate group insurrections large and small, ranging from a restorative basketball game to an unfettered afternoon boat trip and a tragic after-hours party with hookers and booze. Nurse Ratched, however, has the machinery of power on her side to ensure that McMurphy will not defeat her. Still, McMurphy's message to live free or die is ultimately not lost on one inmate, revealing that escape is still possible even from the most oppressive conditions. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 126
Number of Lists: 94
Number of blog posts: 4
Number of discussion threads: 12
SpoutRating: 4
]]>Sat, 15 Aug 2009 22:06:37 GMTOne Flew Over the Cuckoo's Nest1975Milos FormanWith an insane asylum standing in for everyday society, <a href="/players/P____90166/default.aspx" style='text-decoration:underline'>Milos Forman</a>'s 1975 film adaptation of <a href="/players/P____37949/default.aspx" style='text-decoration:underline'>Ken Kesey</a>'s novel is a comically sharp indictment of the Establishment urge to conform. Playing crazy to avoid prison work detail, manic free spirit Randle P. McMurphy (<a href="/players/P___104455/default.aspx" style='text-decoration:underline'>Jack Nicholson</a>) is sent to the state mental hospital for evaluation. There he encounters a motley crew of mostly voluntary inmates, including cowed mama's boy Billy (<a href="/players/P____19921/default.aspx" style='text-decoration:underline'>Brad Dourif</a>) and silent Native American Chief Bromden (<a href="/players/P____62847/default.aspx" style='text-decoration:underline'>Will Sampson</a>), presided over by the icy Nurse Ratched (<a href="/players/P____23906/default.aspx" style='text-decoration:underline'>Louise Fletcher</a>). Ratched and McMurphy recognize that each is the other's worst enemy: an authority figure who equates sanity with correct behavior, and a misfit who is charismatic enough to dismantle the system simply by living as he pleases. McMurphy proceeds to instigate group insurrections large and small, ranging from a restorative basketball game to an unfettered afternoon boat trip and a tragic after-hours party with hookers and booze. Nurse Ratched, however, has the machinery of power on her side to ensure that McMurphy will not defeat her. Still, McMurphy's message to live free or die is ultimately not lost on one inmate, revealing that escape is still possible even from the most oppressive conditions. ~ Lucia Bozzola, All Movie Guide126Tag Target (>10)944124http://www.spout.com/ProductImages/u51442c2ow2.jpghttp://www.spout.com/films/One_Flew_Over_the_Cuckoo_s_Nest/25463/default.aspxFilm http://www.spout.com/blogs/729zoom/archive/2009/3/15/41043.aspx Post By: 729zoom
Post To: 729zoom Blog
Post Date: 3/15/2009 2:06:23 AM
Body: I have never laughed so hard and cried so hard during one film. This movie made me think for weeks and still haunts me. I have never seen a better movie. It was brilliant on all levels.
]]>Sun, 15 Mar 2009 06:06:23 GMT729zoom729zoom Blog3/15/2009 2:06:23 AMI have never laughed so hard and cried so hard during one film. This movie made me think for weeks and still haunts me. I have never seen a better movie. It was brilliant on all levels. http://www.spout.com/groups/Movie_Polls/Re_Which_of_these_film_movments_have_produced_film/657/40557/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 2/19/2009 3:15:26 PM
Body: [quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and François Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw Éric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar Noé's Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanité), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schlöndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add?
]]>Thu, 19 Feb 2009 20:15:26 GMTRisseladaMovie Polls2/19/2009 3:15:26 PM[quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and Fran&ccedil;ois Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw &Eacute;ric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar No&eacute;'s Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanit&eacute;), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schl&ouml;ndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add? http://www.spout.com/blogs/risselada/archive/2009/2/2/40144.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 2/2/2009 12:43:12 PM
Body: If you are interested in cinematography, great cinematography, and great cinematographers, Cinematographer Style would probably be both a highly interesting and highly frustrating experience. Keep reading to find out why! First of all, as an irrelevant piece of information (you can skip this paragraph if you just want to hear about the movie itself) I first heard about this movie from one of my former roommates. He was quite a young guy that I found on craig's list who was studying cinematography at Columbia College in Chicago. He mentioned that he knew a guy who was working on this production, and I think he may have even visited the set one day they were filming one of the cinematographers in the film. Anyways he made the whole thing sound very exciting and epic. A couple months later, after never moving anything else into the apartment except for a few articles of clothing and his guitar and sleeping on our couch until 2 PM every day, and after failing to pay any rent, he showed up in the middle of the night bloody and beat up after going back to a mafia owned bar that he had recently been fired from. After that he never really showed up again. Just one of a series of interesting roommate stories I had at that apartment. But again, that's all irrelevant. Anyways, the structure of the movie Cinematographer Style is a montage of interviews with many famous cinematographers. And when I say many I mean one hundred and ten! This is actually not a number that you should be excited about, although the filmmakers don't seem to realize. With a running time of 86 minutes, this means that on average each person gets an average of fifty seconds of speaking time. Of course in actuality the more famous and respected cinematographers get more speaking time, but when you look at the special features and realize that at least for Vittorio Storaro and Gordon Willis that the filmmakers got at least close to an hour of quite interesting footage you wonder why they felt the need to pack so many people into this movie. And the first five minutes of the movie are just all of the 110 cinematographers in the movie reciting their name (for some of them this is probably about a fourth of the time they'll even get on screen, so why bother?). And at the end of the movie there is actually a piece of text stating something to the effect that due to scheduling there were many cinematographers they wanted in the movie that they couldn't get, and they suggest that maybe there should be a sequel! What's the point of stuffing more people in there if that just means that everyone else gets less time to talk? The reason I'm frustrated by this is because many of the people clearly have very interesting things to say, but they cut back and forth between people that we don't really get any sense of these people individually or their fully story. Again, you can watch the specials features to hear Vittorio and Gordon speak longer, but you lose that chance with a lot of other people in the film. One other frustration is that, although you know these people have done some amazing work and they are making a lot of specific comments about their work, you never seen a single shot from any of their movies. Maybe the filmmakers couldn't get the rights to show segments from these movies. Or maybe they thought it wouldn't be fair to select which movies to show and which not to. Either way, it's hard to hear these people talking about their artwork which is in the same medium in which their interview is being shown to you, and yet you don't get to see any examples of it. A lot of the cinematographers come to the same conclusions, and in the special features you can hear the director kind of prompt the interviewee to say certain things such as "the idea is more important than the tool or technique." But to hear each artists approach to this conclusion is what's interesting, not hearing a 110 headed monster coming to one single conclusion. So in conclusion if you are are interested in cinematography at all you should watch this movie, but you may be frustrated by the quantity of interviews over the chance to really focus on any one person and the lack of examples of their work. Spout usually asks us to include recommendations for other movies if you like the one that is being reviewed. In this case, I would recommend some of the movies that these great cinematographers actually worked on: O Brother, Where Art Thou? (Roger Deakins), Memento (Wally Pfister), Apocalypse Now (Vittorio Storaro), One Flew Over the Cuckoo's Nest (Haskell Wexler), The Godfather Part II (Gordon Willis) Rating: 7/10
]]>Mon, 02 Feb 2009 17:43:12 GMTRisseladaRisselada Blog2/2/2009 12:43:12 PMIf you are interested in cinematography, great cinematography, and great cinematographers, Cinematographer Style would probably be both a highly interesting and highly frustrating experience. Keep reading to find out why! First of all, as an irrelevant piece of information (you can skip this paragraph if you just want to hear about the movie itself) I first heard about this movie from one of my former roommates. He was quite a young guy that I found on craig's list who was studying cinematography at Columbia College in Chicago. He mentioned that he knew a guy who was working on this production, and I think he may have even visited the set one day they were filming one of the cinematographers in the film. Anyways he made the whole thing sound very exciting and epic. A couple months later, after never moving anything else into the apartment except for a few articles of clothing and his guitar and sleeping on our couch until 2 PM every day, and after failing to pay any rent, he showed up in the middle of the night bloody and beat up after going back to a mafia owned bar that he had recently been fired from. After that he never really showed up again. Just one of a series of interesting roommate stories I had at that apartment. But again, that's all irrelevant. Anyways, the structure of the movie Cinematographer Style is a montage of interviews with many famous cinematographers. And when I say many I mean one hundred and ten! This is actually not a number that you should be excited about, although the filmmakers don't seem to realize. With a running time of 86 minutes, this means that on average each person gets an average of fifty seconds of speaking time. Of course in actuality the more famous and respected cinematographers get more speaking time, but when you look at the special features and realize that at least for Vittorio Storaro and Gordon Willis that the filmmakers got at least close to an hour of quite interesting footage you wonder why they felt the need to pack so many people into this movie. And the first five minutes of the movie are just all of the 110 cinematographers in the movie reciting their name (for some of them this is probably about a fourth of the time they'll even get on screen, so why bother?). And at the end of the movie there is actually a piece of text stating something to the effect that due to scheduling there were many cinematographers they wanted in the movie that they couldn't get, and they suggest that maybe there should be a sequel! What's the point of stuffing more people in there if that just means that everyone else gets less time to talk? The reason I'm frustrated by this is because many of the people clearly have very interesting things to say, but they cut back and forth between people that we don't really get any sense of these people individually or their fully story. Again, you can watch the specials features to hear Vittorio and Gordon speak longer, but you lose that chance with a lot of other people in the film. One other frustration is that, although you know these people have done some amazing work and they are making a lot of specific comments about their work, you never seen a single shot from any of their movies. Maybe the filmmakers couldn't get the rights to show segments from these movies. Or maybe they thought it wouldn't be fair to select which movies to show and which not to. Either way, it's hard to hear these people talking about their artwork which is in the same medium in which their interview is being shown to you, and yet you don't get to see any examples of it. A lot of the cinematographers come to the same conclusions, and in the special features you can hear the director kind of prompt the interviewee to say certain things such as "the idea is more important than the tool or technique." But to hear each artists approach to this conclusion is what's interesting, not hearing a 110 headed monster coming to one single conclusion. So in conclusion if you are are interested in cinematography at all you should watch this movie, but you may be frustrated by the quantity of interviews over the chance to really focus on any one person and the lack of examples of their work. Spout usually asks us to include recommendations for other movies if you like the one that is being reviewed. In this case, I would recommend some of the movies that these great cinematographers actually worked on: O Brother, Where Art Thou? (Roger Deakins), Memento (Wally Pfister), Apocalypse Now (Vittorio Storaro), One Flew Over the Cuckoo's Nest (Haskell Wexler), The Godfather Part II (Gordon Willis) Rating: 7/10 http://www.spout.com/groups/Filmgaming/Recast_ONE_FLEW_OVER_THE_CUCKOO_S_NEST_1975/563/36857/1/ShowPost.aspx Post By: SkyPilot
Post To: Filmgaming
Post Date: 10/31/2008 5:19:34 PM
Body: By request: let's recast One Flew Over the Cuckoo's Nest. I find this film to be frustrating, exhilarating, exhausting, amazing. Can it be made any better with a recast? Can Jack be bettered? Can Nurse Ratched be any more evil? Free Spout t-shirt for the greatest recast. Winner announced 11/14. Jack Nicholson ... R.P. McMurphy Louise Fletcher ... Nurse Mildred Ratched William Redfield ... Dale Harding Sydney Lassick ... Charley Cheswick Brad Dourif ... Billy Bibbit Christopher Lloyd (on the right) ... Taber William Duell (in center) ... Jim Sefelt Vincent Schiavelli (on the left) ... Fredrickson Will Sampson ... Chief Bromden Danny DeVito ... Martini Dean R. Brooks ... Dr. John Spivey Scatman Crothers ... Turkle the Janitor
]]>Fri, 31 Oct 2008 21:19:34 GMTSkyPilotFilmgaming10/31/2008 5:19:34 PMBy request: let's recast One Flew Over the Cuckoo's Nest. I find this film to be frustrating, exhilarating, exhausting, amazing. Can it be made any better with a recast? Can Jack be bettered? Can Nurse Ratched be any more evil? Free Spout t-shirt for the greatest recast. Winner announced 11/14. Jack Nicholson ... R.P. McMurphy Louise Fletcher ... Nurse Mildred Ratched William Redfield ... Dale Harding Sydney Lassick ... Charley Cheswick Brad Dourif ... Billy Bibbit Christopher Lloyd (on the right) ... Taber William Duell (in center) ... Jim Sefelt Vincent Schiavelli (on the left) ... Fredrickson Will Sampson ... Chief Bromden Danny DeVito ... Martini Dean R. Brooks ... Dr. John Spivey Scatman Crothers ... Turkle the Janitor http://www.spout.com/groups/Filmgaming/Re_Recast_HIGH_FIDELITY_2000_Top_5_Challenge/563/36206/1/ShowPost.aspx Post By: dreamtupelo
Post To: Filmgaming
Post Date: 10/11/2008 6:34:09 PM
Body: Cast of 70's pop-stars who would never appear on a Rob Gordon mix tape:Billy Joel ... Rob GordonKaren Carpenter ... LauraPaul Simon ... Dick (the quiet one)Meatloaf ... Barry (the Jack Black one)Diana Ross ... Marie De SalleCher ... Charlie NicholsonCarly Simon ... LizKris Kristoferson ... Ian 'Ray' RaymondNeil Diamond ... Middle aged customer (the guys won't help him)Jimmy Buffet ... Louis, the cool customerJames Taylor ... Marco (the guy Charlie falls for)Johnny Cash ... Himselfand as for Top Five:Top Five Seventies Directors Who Could Get Me To See High Fidelity Despite The Above Cast:5. Roger Corman4. John Cassavetes 3. Robert Altman2. Bob Rafelson1. Hal AshbyTop Five Films We'd Have A Blast Recasting:5. One Flew Over The Cuckoo's Nest4. Apocalypse Now 3. It's A Wonderful Life2. Casablanca1. The Godfather Saga (1, 2 & 3-who doesn't want to recast Sofia?)
]]>Sat, 11 Oct 2008 22:34:09 GMTdreamtupeloFilmgaming10/11/2008 6:34:09 PMCast of 70's pop-stars who would never appear on a Rob Gordon mix tape:Billy Joel ... Rob GordonKaren Carpenter ... LauraPaul Simon ... Dick (the quiet one)Meatloaf ... Barry (the Jack Black one)Diana Ross ... Marie De SalleCher ... Charlie NicholsonCarly Simon ... LizKris Kristoferson ... Ian 'Ray' RaymondNeil Diamond ... Middle aged customer (the guys won't help him)Jimmy Buffet ... Louis, the cool customerJames Taylor ... Marco (the guy Charlie falls for)Johnny Cash ... Himselfand as for Top Five:Top Five Seventies Directors Who Could Get Me To See High Fidelity Despite The Above Cast:5. Roger Corman4. John Cassavetes 3. Robert Altman2. Bob Rafelson1. Hal AshbyTop Five Films We'd Have A Blast Recasting:5. One Flew Over The Cuckoo's Nest4. Apocalypse Now 3. It's A Wonderful Life2. Casablanca1. The Godfather Saga (1, 2 &amp; 3-who doesn't want to recast Sofia?) http://www.spout.com/blogs/pippin06/archive/2008/8/9/33795.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 8/9/2008 11:44:27 AM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx One Flew Over the Cuckoo's Nest is on the following AFI lists:The Original Top 100 (#20)100 Years...100 Heroes and Villains (Nurse Ratched is the #5 villain)100 Most Inspiring Movies (#17)The Revised Top 100 (#33) I bought Cuckoo's Nest a year ago (hence, test = pass) after stage managing the stage version. It was a good production, but it was plagued by several problems, which took some survival skills on my part to deal with. A cast member (an excellent Billy Bibbitt) quit a week before we opened; the guy who played McMurphy was a drunken *** most of the time and seemed to really hate me to the point of fighting with me - and might even have been something of a misogynist; one of the guys who played one of the orderlies provoked a fight with another orderly guy, causing the latter to pop the former in the face, and he quit the show (that wasn't a sad thing because he was cuckoo himself); and to top it all off, an audience member sitting third row center had a seizure one night, and I had to stop the show for the paramedics, though that was handled gracefully by the whole cast. It was messy, but it was my first full stage management on my own (not without help of any kind), so I see it as sort of a battle wound, the scars of which I can show off and wear as a badge of honor and homage to my stage managing skills, and the excellent film version has a special place in my heart for that reason, as it reminds me of that time. Without that bias, however, Cuckoo's Nest is a masterpiece of filmmaking - it's a 10 in my book. I don't understand why it isn't higher on the AFI original list - or why it took a 13 point tumble on the revised list. It's a great American movie because it has it all, and it's artistic as well as entertaining. Jack Nicholson (two in a row!) plays Randall P. McMurphy, who plays the part of crazy to get out of work at a prison work farm (we learn that he was jailed for statutory rape). He's transported to an insane asylum, which is largely filled with "voluntary" patients, aside from a few, including a deaf and dumb Indian named Chief Bromwell (Will Sampson) and himself, he comes to find out. The ward is ruled by the iron-fisted, no-nonsense, and cold Nurse Ratched (Louise Fletcher), whose sense of order and discipline is greatly distrubed by free-spirit McMurphy, and the struggle between them is the heart of the story. The voluntary patients include some famous actors in early roles, such as Danny DeVito as Martini, Christopher Lloyd as Taber, and Brad Dourif as Billy Bibbitt (in his first role ever), the stuttering, quiet, and scared mama's boy. I really love this movie because, to me, it's just wonderful on so many levels. First of all, the story is flawless. You find yourself cheering for McMurphy and company, even though, by all accounts, he's the one you should despise, as Nurse Ratched does. The trouble is, her version of sanity is the unflexible and unflinching following of rules in a way that reduces the patients to something childlike or even less-than-human - one of the struggles centers on allowing the patients to watch the World Series, and she just won't have it as long as there isn't a majority vote, though a majority requires the participation of the more vegetable-like patients. Both lead actors won Oscars - in fact, Cuckoo's Nest was a sweeper of the major five (Picture, Director, Actor, Actress, and Screenplay). Jack and Louise deserved their awards, for it's their tension that drives the whole film. Louise's take on Nurse Ratched is so cool, so smug, that the viewer - at least I do - comes to really detest her - hence, her ranking on the Heroes and Villains list. The story is a power struggle, but it's also a sharp look at the flaws of the system, whether penal or institutional, focusing on the dehumanizing of the patients that results from the rigid, naive, and subjective psychological assessments of the hospital physicians (and Nurse Ratched). It examines how the humans in charge, the ones who are supposed to help, may actually use their own biases in abusive ways. Consider the scene in which Nurse Ratched recommends that McMurphy stay on the ward. In many ways, it's also a microcosmic take on the machinations of society at the time the film was made - 1975 was post Watergate, almost post Vietnam War and the reactions to that, during Gerald Ford's presidency... Yet, it's also a tale of optimism, and the idea that one person can make a difference, despite the obstacles. It's inspiring. Now, I feel the viewer gets more information about more of the patients in the novel and even in the stage version, but the screenwriters, who also won an Oscar, put the right amount of stuff in the film to make me feel like the story is perfectly executed, well-rounded, and never loses sight of the aims of the original novel by Ken Kesey. The filming, including art direction and cinematography (which won an Oscar), in addition to the performances of the entire ensemble, brought a sterile realism to the picture. The narrow focus on each patient at certain times really provides the viewer with a sense of confinement - or, in some cases, comfort - that each patient experiences. The pacing is brilliant, as well. The film never drags. Also, the use of music, though sparing, is effective, including the haunting theme with it's driving drum beat (this also won an Oscar). I can't find any flaws in this movie. I think Director Milos Forman created a spot-on adaptation and elicited some remarkable performances from his cast. In my opinion, Cuckoo's Nest truly is a masterpiece, and while I don't agree with its positioning, I am happy that it, at least, the film qualified for the greatest movie lists, for its message, its construction, and its execution show that the film is the whole package, entertainment and art alike.
]]>Sat, 09 Aug 2008 15:44:27 GMTpippin06Reel Thoughts8/9/2008 11:44:27 AMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx One Flew Over the Cuckoo's Nest is on the following AFI lists:The Original Top 100 (#20)100 Years...100 Heroes and Villains (Nurse Ratched is the #5 villain)100 Most Inspiring Movies (#17)The Revised Top 100 (#33) I bought Cuckoo's Nest a year ago (hence, test = pass) after stage managing the stage version. It was a good production, but it was plagued by several problems, which took some survival skills on my part to deal with. A cast member (an excellent Billy Bibbitt) quit a week before we opened; the guy who played McMurphy was a drunken *** most of the time and seemed to really hate me to the point of fighting with me - and might even have been something of a misogynist; one of the guys who played one of the orderlies provoked a fight with another orderly guy, causing the latter to pop the former in the face, and he quit the show (that wasn't a sad thing because he was cuckoo himself); and to top it all off, an audience member sitting third row center had a seizure one night, and I had to stop the show for the paramedics, though that was handled gracefully by the whole cast. It was messy, but it was my first full stage management on my own (not without help of any kind), so I see it as sort of a battle wound, the scars of which I can show off and wear as a badge of honor and homage to my stage managing skills, and the excellent film version has a special place in my heart for that reason, as it reminds me of that time. Without that bias, however, Cuckoo's Nest is a masterpiece of filmmaking - it's a 10 in my book. I don't understand why it isn't higher on the AFI original list - or why it took a 13 point tumble on the revised list. It's a great American movie because it has it all, and it's artistic as well as entertaining. Jack Nicholson (two in a row!) plays Randall P. McMurphy, who plays the part of crazy to get out of work at a prison work farm (we learn that he was jailed for statutory rape). He's transported to an insane asylum, which is largely filled with "voluntary" patients, aside from a few, including a deaf and dumb Indian named Chief Bromwell (Will Sampson) and himself, he comes to find out. The ward is ruled by the iron-fisted, no-nonsense, and cold Nurse Ratched (Louise Fletcher), whose sense of order and discipline is greatly distrubed by free-spirit McMurphy, and the struggle between them is the heart of the story. The voluntary patients include some famous actors in early roles, such as Danny DeVito as Martini, Christopher Lloyd as Taber, and Brad Dourif as Billy Bibbitt (in his first role ever), the stuttering, quiet, and scared mama's boy. I really love this movie because, to me, it's just wonderful on so many levels. First of all, the story is flawless. You find yourself cheering for McMurphy and company, even though, by all accounts, he's the one you should despise, as Nurse Ratched does. The trouble is, her version of sanity is the unflexible and unflinching following of rules in a way that reduces the patients to something childlike or even less-than-human - one of the struggles centers on allowing the patients to watch the World Series, and she just won't have it as long as there isn't a majority vote, though a majority requires the participation of the more vegetable-like patients. Both lead actors won Oscars - in fact, Cuckoo's Nest was a sweeper of the major five (Picture, Director, Actor, Actress, and Screenplay). Jack and Louise deserved their awards, for it's their tension that drives the whole film. Louise's take on Nurse Ratched is so cool, so smug, that the viewer - at least I do - comes to really detest her - hence, her ranking on the Heroes and Villains list. The story is a power struggle, but it's also a sharp look at the flaws of the system, whether penal or institutional, focusing on the dehumanizing of the patients that results from the rigid, naive, and subjective psychological assessments of the hospital physicians (and Nurse Ratched). It examines how the humans in charge, the ones who are supposed to help, may actually use their own biases in abusive ways. Consider the scene in which Nurse Ratched recommends that McMurphy stay on the ward. In many ways, it's also a microcosmic take on the machinations of society at the time the film was made - 1975 was post Watergate, almost post Vietnam War and the reactions to that, during Gerald Ford's presidency... Yet, it's also a tale of optimism, and the idea that one person can make a difference, despite the obstacles. It's inspiring. Now, I feel the viewer gets more information about more of the patients in the novel and even in the stage version, but the screenwriters, who also won an Oscar, put the right amount of stuff in the film to make me feel like the story is perfectly executed, well-rounded, and never loses sight of the aims of the original novel by Ken Kesey. The filming, including art direction and cinematography (which won an Oscar), in addition to the performances of the entire ensemble, brought a sterile realism to the picture. The narrow focus on each patient at certain times really provides the viewer with a sense of confinement - or, in some cases, comfort - that each patient experiences. The pacing is brilliant, as well. The film never drags. Also, the use of music, though sparing, is effective, including the haunting theme with it's driving drum beat (this also won an Oscar). I can't find any flaws in this movie. I think Director Milos Forman created a spot-on adaptation and elicited some remarkable performances from his cast. In my opinion, Cuckoo's Nest truly is a masterpiece, and while I don't agree with its positioning, I am happy that it, at least, the film qualified for the greatest movie lists, for its message, its construction, and its execution show that the film is the whole package, entertainment and art alike. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_29_Locked_Up/625/33225/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 7/29/2008 1:12:34 PM
Body: [quote user="indieabby88"] I remember in middle and early high school I was really into "Girl, Interrupted." My weird pseudo-feminist friends at the time thought it was the best movie around. Then, several years later, I watched "One Flew Over the Cuckoo's Nest" and realized I'd been sorely mistaken. [/quote] I hadn't even thought about mental institution movies. With that being said, you can't leave out Sam Fuller's Shock Corridor. Also, I think we can't forget about POW and concentration camps movies. I've always thought that Empire of the Sun was Speilberg's most underrated film.
]]>Tue, 29 Jul 2008 17:12:34 GMTleeroy711Weekly Theme7/29/2008 1:12:34 PM[quote user="indieabby88"] I remember in middle and early high school I was really into "Girl, Interrupted." My weird pseudo-feminist friends at the time thought it was the best movie around. Then, several years later, I watched "One Flew Over the Cuckoo's Nest" and realized I'd been sorely mistaken. [/quote] I hadn't even thought about mental institution movies. With that being said, you can't leave out Sam Fuller's Shock Corridor. Also, I think we can't forget about POW and concentration camps movies. I've always thought that Empire of the Sun was Speilberg's most underrated film. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_29_Locked_Up/625/33155/1/ShowPost.aspx Post By: indieabby88
Post To: Weekly Theme
Post Date: 7/28/2008 12:17:05 AM
Body: I remember in middle and early high school I was really into "Girl, Interrupted." My weird pseudo-feminist friends at the time thought it was the best movie around. Then, several years later, I watched "One Flew Over the Cuckoo's Nest" and realized I'd been sorely mistaken. And yeah...I'm among the millions of people who consider "Shawshank Redemption" as one of their favorite movies. It's one of those I could watch again and again. For some reason I've got kind of a character crush on Andy Dufresne. I've never been able to explain it.
]]>Mon, 28 Jul 2008 04:17:05 GMTindieabby88Weekly Theme7/28/2008 12:17:05 AMI remember in middle and early high school I was really into "Girl, Interrupted." My weird pseudo-feminist friends at the time thought it was the best movie around. Then, several years later, I watched "One Flew Over the Cuckoo's Nest" and realized I'd been sorely mistaken. And yeah...I'm among the millions of people who consider "Shawshank Redemption" as one of their favorite movies. It's one of those I could watch again and again. For some reason I've got kind of a character crush on Andy Dufresne. I've never been able to explain it. http://www.spout.com/groups/Filmgaming/Re_TOP_5_MOVIES_TO_TEACH_AN_ALIEN_ABOUT_EARTH/563/31569/1/ShowPost.aspx Post By: JillH
Post To: Filmgaming
Post Date: 6/23/2008 4:23:27 PM
Body: Why not just send him The Pantheon? Annie Hall will explain our fatalistic love lives. Chinatown will depict our corrupt nature. One Flew Over the Cuckoo's Nest will serve many purposes, letting him know that we are 1)crazy 2)paranoid and 3)dictatorial. The Godfather will depict our corrupt nature... and our propensity to be loyal and uphold honor. And Star Wars will, if nothing else, give him a good laugh when he sees what we've come up with when we tried to imagine his species. That's five. I hope this alien has more than a two week trial of Netflix; we haven't even gotten to the paradoxical heartbreak of success shown in Citizen Kane. I know you're not supposed to talk about these anymore, but you've gotta go with the Pantheon here, to impress the alien with Earth's (ok, America's) high caliber of movie-making.
]]>Mon, 23 Jun 2008 20:23:27 GMTJillHFilmgaming6/23/2008 4:23:27 PMWhy not just send him The Pantheon? Annie Hall will explain our fatalistic love lives. Chinatown will depict our corrupt nature. One Flew Over the Cuckoo's Nest will serve many purposes, letting him know that we are 1)crazy 2)paranoid and 3)dictatorial. The Godfather will depict our corrupt nature... and our propensity to be loyal and uphold honor. And Star Wars will, if nothing else, give him a good laugh when he sees what we've come up with when we tried to imagine his species. That's five. I hope this alien has more than a two week trial of Netflix; we haven't even gotten to the paradoxical heartbreak of success shown in Citizen Kane. I know you're not supposed to talk about these anymore, but you've gotta go with the Pantheon here, to impress the alien with Earth's (ok, America's) high caliber of movie-making. http://www.spout.com/groups/Top_5/Re_Top_5_Antagonists/190/27157/1/ShowPost.aspx Post By: Smooth_J
Post To: Top 5
Post Date: 4/9/2008 7:54:07 PM
Body: [quote user="leeroy711"][quote user="leeroy711"]I'm quoting myself because I disagree with myself, "self, how could you come up with a list of Antagonists and not include the coin flipping Anton Chigurh in No Country For Old Men? I am very dissapointedin myself. That should probably #2[/quote]Very good catch...I was about to add that myself before I saw your add-on. I have a few to add myself.-Colonel Walter E. Kurtz from Apocalypse Now.-Nurse Fletcher from One Flew Over the Cuckoo's Nest. -Jack Nicholson in The Shining (one of his greatest roles).-Voldemort in Harry Potter. That's a given...There's so many more, but these are just the few that really stood out to me.
]]>Wed, 09 Apr 2008 23:54:07 GMTSmooth_JTop 54/9/2008 7:54:07 PM[quote user="leeroy711"][quote user="leeroy711"]I&#39;m quoting myself because I disagree with myself, "self, how could you come up with a list of Antagonists and not include the coin flipping Anton Chigurh in No Country For Old Men? I am very dissapointedin myself. That should probably #2[/quote]Very good catch...I was about to add that myself before I saw your add-on. I have a few to add myself.-Colonel Walter E. Kurtz from Apocalypse Now.-Nurse Fletcher from One Flew Over the Cuckoo&#39;s Nest. -Jack Nicholson in The Shining (one of his greatest roles).-Voldemort in Harry Potter. That&#39;s a given...There&#39;s so many more, but these are just the few that really stood out to me. http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
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