Nurse Ratcheds exist everywhere. They don't see themselves as evil, but these control freaks wholeheartedly transform institutional rules into rigid dogma and squeeze the humanity out of their subordinates. I saw them in the education profession, and worked with one when teaching in a special program for emotionally disturbed students. She was well-intentioned on the surface but harbored unresolved issues within her dark side that were projected onto the students. I've also seen enough of mental hospital wards to know these "Big Nurses" lurk in administrative corners and corridors—not just the fictional halls of Ken Kesey's One Flew Over the Cuckoo's Nest.

The fact that Milos Forman was selected to direct the film version is no surprise. What better person to show the little-seen repressed society of mental patients than a creative director originally from behind the Iron Curtain, where people were just as normal as any other "asshole" walking the streets of America. Set in the fall of 1963, Kesey's story fits perfectly with 60s themes of freedom and fighting the system�battles that Forman had subtly fought creatively in his native Czechoslovakia. Ironically, Forman nailed the job by openly sharing his ideas about striving for realism, whereas the Hollywood trained directors had been closed-mouthed with their ideas for fear of seeing them get stolen.

One of his best two ideas is using Jack Nicholson as the only known actor for protagonist Randall P. McMurphy. Keep in mind that at the time Nicholson wasn't well known to mainstream audiences, since he had played quirky characters in more independent films like Easy Rider and Five Easy Pieces, but we all are fortunate that the original owner of the rights didn't stick to his plan to star himself—Kirk Douglas. Nicholson did his homework, and got to the bottom of Randall P. McMurphy like no other actor and established himself as a Hollywood star.

Playing a "crazy" person automatically gets any actor nominated for various awards, but Nicholson doesn't just play an over-the-top loony—Nurse Ratched may only see a rebellious troublemaker, but Nicholson carries on the real therapeutic work with his mates. He sniffs out phoniness faster than Holden Caufield, and provides whatever is needed—a heavy dose of water for pretentious "Hard-on," encouragement for Cheswick, or a live woman for timid Billy. Some of the scenes are largely improvisational, and Nicholson's intelligence and creativity are well suited for this; one scene in which Nicholson's improvisational skills shine takes place when non-actor Dr. John Spivey (as Dean R. Brooks) performs the intake interview. Nicholson ad-libs naturally, but the real treasure lies with his facial expressions and body movement. Note the doctor's reaction when Nicholson unexpectedly swats at a non-existent fly!

Of course, today many of the other actors are household names (most notably Danny Devito and Christopher Lloyd as Martini and Tabor respectively), but back in 1976 these unfamiliar faces helped the audience realize that they were venturing into new territory, with McMurphy serving as the wacky guide. It works brilliantly, and Forman strikes the proper balance between his serious themes and comedy.

The second major concept coup is Forman's insistence on realism, achieved largely by living and filming primarily within the confines of a real mental institution, often using administrators, personnel, and patients instead of actors. For a true glimpse, examine the corridor scene where McMurphy is about to receive shock therapy. Only the three guys on the bench are actors—all the other people are simply being themselves in an actual functioning wing of the mental hospital.

Convicted felon McMurphy is sent over to the Oregon state mental institution for observation. His high energy and independence contrasts with the acquiescing inmates who solemnly line up for their medication while muzak continually drifts through the ward, encouraging banal exchanges and submissive behavior only. Suddenly McMurphy injects rebellious spirit to the other eight semi-functioning members of the ward setting off silent stares of hatred in Nurse Ratched, skillfully played by Louise Fletcher, well deserved recipient of the Best Actress Oscar that year. They declare war on each other, and Nurse Ratched reveals herself as the dysfunctional bitch, determined to maintain ward policy no matter how petty and ridiculous. She rationalizes the hospital structure as "therapeutic," but her manipulative guises are as transparently naked as the porn models on McMurphy's playing cards.

As good as Nicholson and Fletcher are, the film simply wouldn't work without the ensemble cast that incorporates Forman's improvisational style and method acting during the intense inside shoot at the Oregon State Hospital at Salem. The actors stayed at the hospital and prepared by shadowing actual patients to pick up on mannerisms, to the point that it's really difficult to distinguish between the actors and actual mental patients.

Outstanding character actor Brad Dourif debuts in the first of his now eighty films as the stuttering and suicidal Billy Bibbit, a performance that deserves the same acting accolades as Oscar winners Nicholson and Fletcher. His contribution to the film's core emotional content is immense, and Dourif disappears into his role.

Non-actor Will Sampson also debuts as the largely non-speaking Chief, who actually serves as the narrator in Kesey's novel. Cast due to his gigantic size, Sampson plays McMurphy's silent soulmate—a fellow rebel who acts inwardly as much as McMurphy acts outwardly. With haunting title song accompaniment, Sampson finishes the film with one of the most memorable symbolic crescendos in film history—one now so well known that The Simpsons even parodied it. Watching the Big Indian smash through the Institution in pursuit of freedom still brings tears to my eyes. Maybe it's just a 60s thing, but it works for me.



Note: Warner Brothers has released a special edition DVD that contains an excellent commentary track by director Milos Forman and producers Michael Douglas and Saul Zaentz and a documentary that cites a great deal of background information behind the making of the movie.