The last appearance in the so-called brilliant American comedy, starring role in a shabby middle-aged man unscrewed, can not diminish the charisma and talent of one of the most representative actors of the last forty years of American cinema ... Jack Nicholson.
Retracing his career means making a digression in the underground American, but also increasingly in the mainstream of quality. Who remembers the glorious peak actor Roger Corman factory? Unforgettable in The Little Shop of Horrors, where the protagonist is none other than a carnivorous plant that eats any living being is within its vicinity. To power the wretched boy must continually commit murder, but eventually he will fall victim .
Fantastic low-budget horror films of the sixties. Two other films are small masterpieces, The Raven always Corman jack where he plays a magician of the fifteenth century turned into a raven by a sorcerer and will remain so because the magic formula is lost forever. Great comparison with another great Boris Karloff as in The Terror, with Nicholson in the role of a Napoleonic officer struggling with a castle occupied by a woman caught in a terrible spell the doom melt like wax. His versatility is shown clearly in a war film, typical of those years, such as Back Door to Hell ( 1964) del geniale Monte Hellman, o sempre dello stesso regista, l’avventuroso Flight to Fury.
La rivisitazione della Chicago gangsteristica di Al Capone de “Il massacro del giorno di S.Valentino” precede di un paio di anni una strepitosa performance in Easy Rider. Al fianco di altre due leggende dell’underground, Dennis Hopper e Peter Fonda, Nicholson dà vita ad uno strampalato avvocato in stato di ubriachezza che accompagnerà i due biker nel loro viaggio esistenziale on the road, tra droghe e riflessioni psico – esistenziali. Un trip che sfocerà in un brutto sogno senza risveglio. Infatti il povero George verrà brutalmente pestato a morte dalla cieca violenza reazionaria dei benpensanti di New Orleans. Si giunge così ad un dittico di capolavori assoluti. L’indimenticabile musicista bohemien pieno di talento di Cinque pezzi facili e lo speaker disincantato, icona dell’america post Vietnam, de Il re dei giardini di Marvin.
Sicuramente uno dei ruoli che meglio si adattano alla mimica facciale e forse alla fisicità di Nicholson è quello del detective, o meglio lo speleologo del torbido che spesso si annida nell’animo umano. Diretto da un Polanski in stato di grazia, Chinatown, vede Jack alle prese con la longa manus della mafia a cui capo c’è un monumentale John Huston che altri non è che il padre della donna ( Faye Dunaway) which he was engaged to investigate her husband's infidelity. By analyzing in depth the talent of Jack is clear that one of his great merits was clearly to undermine the American male model, imposing a new, nervous, insecure, excessively paranoid, especially with luggage made of tics and anxiety, pushed to paroxysm.
In this sense, "One Flew Over the Cuckoo's Nest" is emblematic with digressions on the theme of madness and alienation. The latter emerged from the unconscious state of mind until it becomes the world outside of profession: reporter. The Nicholson Michelangelo Antonioni is a victim of silence and absurdity of Artaudian memory, sealed in a room waiting for his self-destruction before being physically removed from assassins come to kill him. It goes on and on, and maybe even go into the next post in the Nicholson director.
I want to conclude this trip with Nicholson gives another essay of his histrionics with Shining where he plays Jack Torrance that the former teacher as a guardian of a remote hotel in the Rocky Mountains of Colorado chasing a boy with psychic powers and his mother agrees with a lot of ... Big Jack, the wolf bad hunts Red Riding Hood, well you can!
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