Mike Nichols RIP

btw there are like 200 "New Hollywoods," from the 1940s up through the 1990s, but I'm speaking of the media phenomenon (and to a lesser extent actual film-production phenomenon) heralded by The Graduate/Bonnie and Clyde.

btw the Woolf commentary track up there is fascinating -- Ernest Lehman's biggest idea at the time Nichols was hired was making the child REAL (and dead). What a maroon. Also around 36:00 Nichols has a nice observation about Wyler and a scene in The Heiress.

I loved this guy. You're all nuts.

Ernest Lehman's biggest idea at the time Nichols was hired was making the child REAL (and dead). What a maroon.

hahahaha oh dear - i need to listen to this commentary

you see, the play's ending had been criticized!

We studied the play at high school, can still remember when the TWIST was revealed in class and actual cynical 14 year olds *gasped* aloud

it was spoiled for me by the SCTV K-Tel version

https://www.youtube.com/watch?v=2yIMAowxy_A

1999 FC interview:

Carnal Knowledge is the darkest movie I ever made. It's the only one I ever see again. I'm very impatient, and in looking at it I'm very annoyed by its pace. Because I was so hung up on not cutting and doing everything in one, I just think it's slow. In the beginning especially, I just think, C'mon, let's go, let's go. And then indeed it does get moving, in the middle, and then I think it works—I like it very much. It's a mannerist film, and that's both what I like and don't like about it. It was written as a play, and I said I thought it wasn't a play, actually it was a movie. I think without planning to, it was in some ways reminiscent of Feiffer's panels, when he draws his cartoons....

People thought it was an anti-woman film. I never thought that was true. It was a film about the underclass and what its members suffered. The main thing to remember about Carnal Knowledge was it was about a specific generation of men. I don't think those men exist now, and I think feminism has changed everyone to some extent. But what you said is absolutely true, that we all think of men as the liars. Well, of course, women, like any underclass, are liars, too—they're just better liars, because their lies are part of a necessary strategy. I think some of that is in the movie; we probably could have used more of it.

http://www.filmcomment.com/article/of-metaphors-and-purpose-mike-nichols-interview

I wonder if he changed his mind about "those men" no longer existing in the last couple weeks...

Good observations in thread. While finishing Mark Harris' bio, I watched The Fortune and Silkwood again. The latter held up quite well; the houses feels lived in, and Streep, Kurt Russell (meow), and Cher interact as if they've known each other for years (one of Streep's most acceptable fussy performances too).

Apparently he and Susan Sontag might've hooked up when younger. Makes sense: she was the New York intellectual version of Mike Nichols.

Commentary on The Graduate with Soderbergh; properly fascinating

https://www.youtube.com/watch?v=8WqjLzi5a8A

I forgot that it was him who did Silkwood actually, probably my favourite Meryl performance ever, she just vanishes into it so completely. Russell, Streep and Cher is such a great little gang.

The Mark Harris book sounds great; especially the stuff about Heartburn;

https://www.vulture.com/article/mike-nichols-a-life-mark-harris-excerpt.html

I had no idea -- silly me -- to what degree he remained a theater director.

To learn that Silkwood (a) hit #1 (b) hit #1 in its sixth week of wide release is a peek into another world.

Heartburn is an odd bad film. The rhythms are slack as hell, the material's disgraceful (e.g. an early sequence in which members of the family take turns urging weepy Streep to leave her bedroom to get married), and the leads are miscast; yet it has a rumpled lived-in-ness with which Nichols has often succeeded (it's streaming on Prime).

Tried it a few months ago and gave up during the wedding.