Fantasy, Heart, Guts and Magic

Rating: 10/10 (9 August 2005)

One of the great film experiences of all time! At its premiere in the 1970s, we were stunned. Never before had we seen the inside of psychiatric institutions portrayed with such utter realism. It was frightening and disturbing, and so very bizarre. But, before you knew it, we were suddenly on a fantasy journey as McMurphy watches his phantom baseball games, gets the better of the horrid Nurse Ratched, commandeers that bus for that thrilling boat ride, teaches the Chief to play basketball with hysterically funny results (that scene of Will Sampson bounding down the court so absurdly gracefully created the first big belly laughs in the theater), and we were SO taken with McMurphy and his wonderful wisdom. Oh, but then that dramatically riveting ending, with Nurse Ratched's cruelty and then Billy Bibbit's harrowing suicide--we were now breathless with despair. The way Milos Forman so completely switched emotional gears was devastating. The bizarre made the fun all the more appreciated--the fun made the searing drama all the more painful. But then the final scene of sacrifice and resurrection with the Chief's heartbreaking embrace of the defeated McMurphy, and his escape to a magical freedom made our hearts break, and for more than a few, tears flowed freely. What an amazing artistic achievement. Certainly deserving of its awards, accolades, fame and its place in the pantheon of great cinematic achievements.
I enjoy Ebert's criticisms, and usually find his reviews right on the money--but I sure disagree with his take on this film. In commenting on films like the great "Field of Dreams", he talks about how the magic and non-realism contributes to its artistry and cinematic magic. But with "One Flew Over the Cuckoo's Nest", he complains about the moments where drama and unreality interfere with the realism. That's missing the point of the film. The film is about human emotion and the great questions of life--of right and wrong--and the director and actors use a surrealistic world and atmosphere (dreams and day to day reality intertwined) to comment on feelings and emotions so complex, so unreal--so beyond our abilities to understand and comprehend. Magic is what this film is about.
One last thing--I have long felt that this film has an additional element--that it can be viewed as a symbol of the Christ story in Christianity--where McMurphy represents the Christ figure. I certainly don't mean to be blasphemous about this. But--there is McMurphy and his disciples in the Institution. He teaches them--he creates magic for them. No--he doesn't turn water into wine, or one loaf into a hundred--but he has them watching TV when there is no picture on the tube! He takes them on a fishing excursion, and low and behold, they catch fish! He doesn't bring a dead man back to life--but he teaches Billy Bibbit to speak without stuttering. He could have escaped the institution, but he remains behind with his disciples. Note the extended (almost uncomfortably long) scene of McMurphy's face, as he fights with his demons in silence before he remains behind in the institution. There is no "last supper". But...well....there's a "last bacchanal"! As Judas betrays Christ, there we have Billy Bibbitt wrenchingly betraying McMurphy. At the coda of the film, we actually feel uplift, seeing how McMurphy's spirit lives on with the Chief running out into the world, probably taking that message of decency and righteousness and the possibilities of life with him! I think this is more than coincidence in the construction of the play and the movie. I compare it to Cool Hand Luke. Same symbolic idea. I'm sure!!!
However you view the film and its extraordinary impact, you will be mesmerized, entertained and deeply affected. Its cinematic art of the highest order!