Five noted cinema from Mike Nichols

November 20, 2014 - photo frame

NEW YORK (AP) — Mike Nichols was a master of self-satire, a male of resources and preparation and connectors for whom his best targets were those of wealth, preparation and connections, from a empty Californians of “The Graduate” to a troops coronet of “Catch-22.” Here are highlights from a prolonged film career of Nichols, who died Wednesday during age 83:

“Who’s Afraid of Virginia Woolf?” (1966) — Nichols was already a tip theatre executive when he done a fantastic film entrance by bettering Edward Albee’s play about a bickering, self-loathing spouses George (a story professor) and Martha (daughter of a college president). Filmed in claustrophobic black and white, leader of 5 Academy Awards, it featured a world’s many glamorous couple, Richard Burton and Elizabeth Taylor, really unglamorous and roughly unrecognizable — he in eyeglasses and an aged sweater, she in a gnarled wig and dull, unflattering dresses and blouses. The film was rarely scurrilous and intimately pithy for a time, and was among a initial releases that barred attendees underneath 18 who were unparalleled by an adult.


“The Graduate” (1967) — The film that brought Nichols his sole directing Oscar, a norm for a 1960s that somehow never mentioned Vietnam, polite rights or any issues over a ubiquitous ridicule for money, management and Southern California. “The Graduate” starred Dustin Hoffman, in his breakthrough role, as a aimless, ungainly Benjamin Braddock and his catastrophic event with family crony Mrs. Robinson (Anne Bancroft). Many who saw it once, saw it again, and again, and savored a jump-cuts, a Simon Garfunkel soundtrack and such catchphrases as “Mrs. Robinson, you’re perplexing to charm me. Aren’t you?”, oral by Hoffman, who (in an iconic shot) appears in a behind of a frame, lilliputian by a appearing close-up of Bancroft’s bent, unprotected leg.


“Working Girl” (1988) — The abounding — during slightest a unethical abounding — get theirs in Nichols’ renouned angel story about a immature secretary (Melanie Griffith, in her many famous role); a financial executive who deceives her (Sigourney Weaver) and a executive (Harrison Ford) who Griffith wins over. Few could forget a voluptuous, baby-faced Griffith, in her low-cut dress, uttering her come-on to Ford: “I have a conduct for business and a bod for sin.”


“Birdcage” (1996) — In a 1990s, Nichols began operative again with his aged theatre partner, Elaine May, whose screenplay brought a clarity of appetite and wit that had been blank for several years. The instrumentation of a good French imitation “La Cage Aux Folles” featured Robin Williams and Nathan Lane as a happy integrate and, best of all, Gene Hackman as a concerned impending father-in-law to Williams’ son.


“Primary Colors” (1998) — Another Nichols-May collaboration, this one formed on Joe Klein’s roman a clef about Bill Clinton’s 1992 presidential campaign. John Travolta starred as a Clinton stand-in, Gov. Jack Stanton; Emma Thompson played his wife, Susan, modeled after Hillary Clinton. May’s screenplay shifted gracefully, movingly from domestic joke to tragedy as a Stantons’ hired gun (Kathy Bates) confronts a cost of assisting such a means though pretentious man.

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