One Flew over the Cuckoo's Nest

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. (08/24/2013)

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. (04/19/2018)

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. (04/13/2003)

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%. (01/14/2012)

I had this legendary film prepared for a long time, and I couldn't get to it for a while. Finally, I saw it and I have to say that it is truly an intense spectacle. Some actors play their crazies absolutely brilliantly. Danny DeVito is absolutely captivating, but it is clear that the main focus is on Nicholson and Fletcher. I like that the confrontation is not usually direct, but rather a cold war. It builds up beautifully. Every scene has its power, even though its climax may come gradually. When you want to create hell, you don't need demons. (03/13/2014)