Tag: Mike Nichols

The Last Sane Man on Earth

 

“You hear the applause at the end of the routine, the people are actually applauding themselves. What I’m saying is not necessarily funny. It’s what you don’t hear that’s funny, and the audience supplies that. It presumes a certain intelligence on the part of your audience, and I think they appreciate that.”
— Bob Newhart speaking in an interview on National Public Radio’s Morning Edition in May 2014.

 

Happy 90th birthday to comedian and actor Bob Newhart, who was born in Oak Park, Illinois, a suburb outside Chicago, on September 5, 1929. Anyone who has ever enjoyed Mr. Newhart’s comedy knows he doesn’t talk down to his audience, and neither does he go way over their heads. His best friend, another comedian and actor, Don Rickles, placed Mr. Newhart’s appeal best when he nicknamed him “Charlie Everybody”.

Newhart show cast 1977
A June 1977 publicity photo of the cast of The Bob Newhart Show. Standing, from left: Bill Daily (Howard Borden), Marcia Wallace (Carol Kester), Peter Bonerz (Jerry Robinson). Seated, from left: Bob Newhart (Bob Hartley), Suzanne Pleshette (Emily Hartley).


Bob Newhart portrayed Major Major Major Major in the 1970 film Catch-22, adapted by Buck Henry from Joseph Heller’s novel, and directed by Mike Nichols. Norman Fell portrayed Major Major’s orderly, Sergeant Towser.

Bob Newhart has made a career of understatement and staying sane while quirky characters and peculiar events swirl around him, and his style allows his audience to come along with him rather than merely spectate. His straight man “Charlie Everybody” reactions heighten the comedy by letting absurdity seep in and speak for itself, and that requires a delicate sense of timing and a feeling for the oddity in everyday life, a talent he has that is neither as easy to come by nor as simple to share as he makes it seem. Hi, Bob, and happy birthday! Thanks for helping us laugh, and feel good, too, remembering the first is a passing reaction to an event or situation, while the second lingers with us long after the laughter fades.


— Ed.


Bob Newhart remembers his best friend, Don Rickles, in this August 2017 interview with Conan O’Brien. Don Rickles died in April 2017, and the two had been friends since their days as entertainers in Las Vegas in the 1960s. Seated on the couch with Mr. Newhart is Peter Bonerz, one of his co-stars from The Bob Newhart Show and, earlier, from Catch-22. Warning: foul language.

 

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The Empathy Generator

 

Roger Ebert, the great movie critic who worked primarily in Chicago, Illinois, and over the course of his career garnered respect and influence internationally, believed movies were “like a machine that generates empathy”. By that he meant a well-made movie encourages viewers to lose themselves for a time and step into the shoes of others. There were more movies like that being made 50 years ago than there now, in the current era of comic book special effects franchises.

Stanley Kubrick - Chicago Theatre cph.3d02346
Stanley Kubrick took this photo in 1949 for LOOK magazine. Mr. Kubrick was a staff photographer for the magazine from 1947 to 1950, and he then went on to direct many great movies, becoming a model for other filmmakers of the New Hollywood. The Chicago Theatre was one of many movie palaces built around the country in the 1920s, and after renovations in the 1980s, it remains a popular venue for film exhibitions and live performances.

 

Mr. Ebert became the film critic for the Chicago Sun-Times newspaper in 1967, about the same time as the emergence of New Hollywood filmmaking, an era lasting roughly from 1965 to 1985 when Hollywood studios financed character driven films made by directors like Mike Nichols, Bob Rafelson, and Francis Ford Coppola, who came from backgrounds in theater, television, or film school. Filmmakers in Old Hollywood often came up through the ranks, and many of them were refugees from Europe, escaping the fascist regimes spreading throughout the continent in the 1920s, ’30s, and early ’40s.

Old Hollywood was vertically integrated, meaning the studios controlled production and distribution and held talent under long term contracts. All that started to fall away in the 1950s when the federal government forced the studios to divest themselves of most of their wholly owned distribution channels, which had behaved as a cartel, and as television poached audience share from the movie industry. Some star actors and directors cut themselves loose from the major studio system, forming ad hoc film companies which sought limited input from the big studios. Finally, in order to compete with television, studios more frequently rolled the dice on big budget spectaculars such as Ben-Hur or Cleopatra, and those high stakes gambles either saved financially unstable studios or sank them nearly to insolvency.

By the late 1960s, the movie studios primarily served as film financers and weren’t as heavily involved in production and distribution as they once were. Along with discarding the Hays Code of movie censorship, a relic of Old Hollywood, the changed paradigm of filmmaking allowed greater freedom and creative control for directors, actors, and writers. The result was the flowering of small to medium scale films that became the hallmark of the New Hollywood, films such as The Graduate and Bonnie and Clyde, both released in 1967, and continuing with other great films made for adult sensibilities through the 1970s.



Jack Nicholson had a breakout role as an alcoholic civil rights lawyer in the 1969 film Easy Rider, directed by Dennis Hopper, who also starred in the film along with co-writer Peter Fonda. In taking on multiple tasks in the making of Easy Rider, Mr. Hopper and Mr. Fonda were more typical of New Hollywood than they were of Old Hollywood, where vertical integration assigned discrete tasks to different individuals within the studio system, and auteurism was discouraged by studio bosses who were leery of the practice ever since Orson Welles made Citizen Kane in 1941.

 

Jack Nicholson was the actor who became the face of New Hollywood filmmaking, simply because he was in more hit movies than anyone else during that time. His face, voice, and acting style and choices personified the New Hollywood era. Starting with Easy Rider in 1969, Mr. Nicholson was in one successful movie nearly every year, and in some years more than one, through the 1970s and into the ’80s. He has of course been in many successful films since then, and what is remarkable in retrospect from today’s vantage point when big budget sequels and reboots of franchises are Hollywood’s major output is that he has never repeated himself nor acted in one of those kinds of movies.

Since the demise of New Hollywood filmmaking, Jack Nicholson has chosen to stay with character driven films, though the number available for his participation diminished over the years, as he related in a 1995 interview with Roger Ebert. Even Tim Burton’s 1989 film Batman, in which Mr. Nicholson played The Joker, can be seen as character driven despite its comic book origins and inclusion of special effects. It was the first film of its kind to take the source material seriously, and it was well-made by some exceptional talents.

In a later scene in Easy Rider, Jack Nicholson’s character, George Hanson, discusses the state of the country with Dennis Hopper’s character, Billy.

Unfortunately the endless variations on Batman in the 30 years since its release have grown wearisome. But the movie that started the push for a return to blockbuster filmmaking came out 14 years earlier, in 1975, when Steven Spielberg’s film Jaws appeared in theaters that summer and set box office records. Jaws was followed in the summer of 1977 by Star Wars, a film created and directed by George Lucas that started a media franchise which continues to this day. Those films, too, were well-made by exceptional talents. In the years since their release, however, those kind of films and their lesser cousins have increasingly crowded out the kind of smaller, character driven movies Jack Nicholson and the New Hollywood were known for, the kind Roger Ebert described as generators of empathy. In times when we are in need of empathy generators perhaps more than ever, we are largely left to project ourselves onto special effects beclouded superheroes.
— Vita

 

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Talking Heroes

 

Arizona Republican Senator John McCain died on August 25 after a long battle with brain cancer, and since then there has been much discussion nationwide of his role as an American hero both for his service in Vietnam and as a political figure afterward. Less noticed was the 63 month jail sentence imposed on former National Security Agency (NSA) contractor Reality Winner on August 23 at a federal court in Georgia for supposedly violating the Espionage Act of 1917. Ms. Winner had in early 2017 turned over to online investigative news outlet The Intercept classified documents relating how the Russians had meddled in the 2016 presidential election. For many people and for Ms. Winner herself, what she did was more whistleblowing about malfeasance in the United States government than espionage on behalf of a foreign power because the NSA obviously knew of the meddling but for reasons it won’t specify sat on that information.

 

We Support Whistleblowers Free Bradley Manning (Chelsea Manning) Twin Cities Pride Parade (9181428436)
2013 Twin Cities Pride Parade in Minneapolis, Minnesota, in support of whistleblower Bradley (later Chelsea) Manning. Photo by Tony Webster.

Reality Winner is the latest in a recent series of whistleblower defendants to be charged by the government under the Espionage Act, starting in the Barack Obama administration. The most notable whistleblowers charged have been Army Private First Class Bradley (now Chelsea) Manning in 2010, Central Intelligence Agency (CIA) officer John Kiriakou in 2012, and NSA contractor Edward Snowden in 2013. Ms. Manning and Mr. Kiriakou have served time in prison, and Mr. Snowden lives as an asylum seeker in Russia. The Espionage Act was always a draconian piece of legislation open to abuse by authoritarians in power, but it is only in the past ten years that those authoritarians have enlisted it to hammer down on whistleblowers to intimidate others into silence.

Calling whistleblowers national heroes in no way takes anything away from Senator McCain. Rather, it broadens the concept of heroes to include those whose patriotism included the courage to speak out against abuses of patriotism and authority by those in power. Sitting quietly by while a foreign power meddles in American elections is not patriotism, and neither is putting a lid on military abuses in Iraq or condoning torture by CIA agents or spying on American citizens at home. Whistleblowing on those abusers and their actions is true patriotism, while using the heavy hand of the Espionage Act to prosecute the whistleblowers is another abuse of government authority.
— Vita

To those principled individuals bothered by abuse of authority and ethical dysfunction within any system the two options available are fighting or selling out, as illustrated in this scene near the end of the Mike Nichols film Catch-22, with Alan Arkin as Yossarian, Martin Balsam as Colonel Cathcart, and Buck Henry as Colonel Korn.

 

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One Man’s Trash Is Everybody’s Problem

 

This summer, archaeologists from The Public Archaeology Facility of Binghamton University in New York State are digging up the site of the 1969 Woodstock Music and Art Fair near Bethel, New York. They hope to uncover an accurate and comprehensive scheme of the place as it was originally laid out for that enormous event nearly 50 years ago, and then turn over their findings to the museum on the site in time for the 50th anniversary in August 2019. Besides broken glass and other relics from the event, the archaeologists dug up numerous pop tops from aluminum beverage cans.

 

Unlike the stay-tab which replaced it in the late 1970s, the pop top tabs from the late 1960s and early 1970s were meant to be pulled entirely off the top of the can by the consumer. The consumer then had a piece of waste in addition to the waste the can itself would become after emptying, and many consumers simply dropped the pop tops on the ground, where they not only littered the environment but on account of their sharp edges became a safety hazard for anyone in bare or lightly shod feet, as Jimmy Buffett noted in his song “Margaritaville”. Some people dropped the pop tops into the can either while they were drinking from it or afterward, and then some of those people were unfortunate enough to swallow the pop top or otherwise injure themselves when it resurfaced during their drinking.

Litter trap
A litter trap on the Yarra River in the vicinity of Melbourne, Australia. Photo by Biatch3.

 

When a Reynolds Metals engineer named Daniel F. Cudzik invented the stay-on-tab, or Sta-Tab, in 1975, he solved the littering and safety problems of pop tops. Some inconsiderate people still tossed the cans wherever they liked when they were done with them, and unfortunately it appears a certain percentage of people like that will always be among us, but the problems originating from improperly disposed cans have lessened since the 1960s with the adoption of better designs and recycling programs. Since then, and particularly after bottled water took off in popularity in the 1990s, plastic beverage containers have taken over from aluminum cans as a major littering and safety problem.

Engineers and designers have created biodegradable water bottles in the past several years, but so far the bottled water industry has not embraced their inventions, and may never do so without consumers pushing themselves and the industry in that direction. Part of the reason for delay is the relatively abstract nature of the problem for many consumers. Yes, empty plastic water bottles may litter roadsides, where they are unsightly, but they don’t really pose a physical danger to people, unlike aluminum pop tops and cans with their sometimes sharp edges. The physical danger from plastics all seems to happen to animals, many of them far away and out of sight, such as the ones who live in the oceans, where all that plastic garbage ends up and lingers for decades. It was only recently that scientists discovered we, like our animal cousins, are also ingesting plastics, though in our cases we are more dainty in our discernment in that we choose only to take in micro-plastics, meaning those we cannot see. What goes around, comes around, and there’s no escaping it.

In Mike Nichols’s 1967 film The Graduate, Mr. McGuire, played by Walter Brooke, has some advice for Ben Braddock, played by Dustin Hoffman. In a later scene, Hoffman’s character floats on a raft in the pool at his house and sips a beverage from a can which has two v shaped openings in its top, the marks of having been opened with a can opener, or church key, the most common way to open such a can before pop tops became widely available on beverage cans in the mid 1960s.

Most people can be coached to some degree to change their behavior, and once they are understand viscerally that a problem exists because of their past behavior, many of them can become open to change. They have to feel the problem personally, though, because an abstraction doesn’t always get through to them. A minority of others are hardheads, and little can be done to persuade them to change their ways beyond legal sanctions and public shaming. The mounting problem of plastic litter shares this model of personal and public behavior with the looming dangers of a warming climate. For too many people the problems remain abstractions because the effects can be distant, indirect, or slow moving. The rest of us can’t wait for those people to come around, because they may only do so when they are up to their necks in seawater while standing in their front yards, fighting off all the plastic junk bobbing in the water, and obstinately refusing to reconcile their beliefs with what they see and feel around them.
— Techly

 

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A 50 Percent Chance of Stupidity

 

Last week, upon returning from Europe and announcing that the United States would withdraw from the Paris Climate Accord, Supreme Leader was supposed to have remarked to his companions over lunch after yet another weekend round of golf, “They can’t even get the weather report right, so how come they think they can get that right?” He was conflating weather with climate, a common mistake for laymen, but an unfathomable lapse for someone who has the best science at his fingertips, if only he had an interest in tapping it.

Stupidity may not account entirely for Supreme Leader’s climate change denial, nor for that of his core supporters or other conservatives, for denial of climate change does appear to be a trait of conservatives. Cupidity plays a part, in that the fossil fuel industry, a primary contributer to global warming, does all it can to deny it and thereby preserve its profits, much like the tobacco industry fought against cancer research. Until a recent study showed otherwise, people may have thought ignorance of the facts determined the stance of deniers. The study showed instead that deniers had as much access to the facts as anyone else, but they make the facts fit their predispositions on the issue, a trick which they can accomplish more easily with a long term problem like climate change. The effects of climate change are unfolding over a period expected to last well over a lifetime, into the lives of children and grandchildren, unlike the effects of smoking, which could be felt within a single lifetime.

Biloxi Blues, a 1988 film adapted by Neil Simon from his play, and directed by Mike Nichols, is a semi-autobiographical reminiscence of Simon’s Army days during World War II. In this scene, Christopher Walken as the drill sergeant uses the recruit played by Matthew Broderick to make a point to the platoon that they are all in this together, and an action or failure to act by any one of them affects them all. Warning: foul language.

The problem comes with the understanding that a flexible view of the facts does not change the facts, it only delays grappling with the inevitable. We may tell ourselves that the Chinese have perpetrated global warming as a hoax in order to subvert America’s competitive advantage, but that doesn’t alter the fact that it’s getting hotter, and that Americans are contributing more than their fair share to the problem while contributing less than their fair share to the solution. If we like, we may puff away like chimneys in order to keep pace with the Chinese, and then we can all collapse together, wheezing and clutching our chests, our insides poisoned.


That is not an entirely accurate analogy for the effects of climate change, however, which are longer term and more widespread than one individual’s smoking habit. And that is what makes it hard for some people to acknowledge, making it a failure of imagination. If they won’t accept on their own account that it’s getting hotter now, maybe they will accept that unless they pitch in to help solve the problem, or at least stop obstructing progress, then their children and grandchildren will feel the heat to a degree that there’s no denying. Until climate change deniers reach that acceptance, everyone else has to do what they can to stall global warming without any further delay. If the Ignoramus-in-Chief won’t lead on the issue, then it’s up to everyone else, starting with the states, to act on it and steer around the obstacles.
― Izzy

Titanic iceberg
The iceberg suspected of having sunk the RMS Titanic. This iceberg was photographed by the chief steward of the liner Prinz Adalbert on the morning of April 15, 1912, just a few miles south of where the Titanic went down. The steward hadn’t yet heard about the Titanic. What caught his attention was the smear of red paint along the base of the berg, an indication it had collided with a ship sometime in the previous twelve hours. This photo and information was taken from Unsinkable: The Full Story of RMS Titanic, written by Daniel Allen Butler, Stackpole Books 1998. Climate change deniers see an iceberg and say there is no global warming because there is still ice; others see an iceberg floating free in the shipping lanes and say “Watch out!” The crew of the Titanic, of course, didn’t see the iceberg at all.

 

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