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Serbian Victory at Kolubara

The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 156th installment in the series. NEW: Would you like to be notified via email when each installment of this series is posted? Just email RSVP@mentalfloss.com.

December 2, 1914: Serbian Victory at Kolubara 

As Austria-Hungary’s determination to crush Serbia was the immediate cause of the Great War, most observers expected the Dual Monarchy to annihilate the small Slavic kingdom, still exhausted from the Balkan Wars, within a few weeks of the outbreak of hostilities. Instead the scrappy Serbs amazed the world by scoring a string of defensive victories, humiliating the Hapsburg armies and tying down hundreds of thousands of troops sorely needed on the Russian front. 

After the first Austro-Hungarian invasion was decisively defeated during the Battle of Cer Mountain from August 15-24, 1914, the Austrian commander, Oskar Potiorek, regrouped in preparation for another offensive while the Serbs conducted harassing attacks across the frontier along the Sava and Drina Rivers, including incursions into Austrian Bosnia, with scant success in the Battle of the Drina from September 6-October 4.

By mid-October Potiorek’s troops had secured bridgeheads across the Drina River, while chief of the general staff Conrad von Hötzendorf scraped together reinforcements wherever he could find them, laying the groundwork for a renewed Hapsburg offensive in the autumn. In early November the Austro-Hungarian Fifth and Sixth Armies, together numbering around 450,000 troops, launched a pincer movement against northwestern Serbia, defended by around 400,000 Serbian soldiers in three main armies and two smaller army detachments.

Rather than simply wait for the blow to fall, however, Serbian chief of the general staff Radomir Putnik staged a fighting retreat, drawing the enemy deeper into central Serbia, where autumn rain turned primitive roads into mud, disrupting the Hapsburg supply lines and forcing the armies to widen the arms of the planned pincer. According to Josef Šrámek, a Czech soldier in the Hapsburg army, food was already scarce and disease rampant as early as October, exacerbated by corruption and indiscipline: 

Hunger every day, too little bread available. Dysentery is spreading among us. I am expecting packages from home – in vain – feldwebels [sergeants] stole them. The same happens to rum and wine! Officers are drunk. They push us around and beat us with sticks… Being in the army is getting tougher day by day… We even lack water.

Nonetheless, encouraged by the apparent crumbling of Serbian resistance, Potiorek pressed forward, capturing the strategic town of Valjevo on November 15 and forcing the Serbs to abandon their capital, Belgrade, and relocate to the central Serbian town of Niš on November 29. Šrámek noted that this gave a much-needed boost to morale: “With great enthusiasm we think we have now won the war; there are even some prophets saying we will be home by Christmas.” 

As jubilant crowds in Vienna celebrated each new Hapsburg advance, the situation looked increasingly hopeless for the Serbs – but now Putnik, running out of options, decided to make a last stand along the Kolubara River, where mountainous terrain would afford his troops would a defensive advantage, and the enemy forces would have to approach over relatively open ground from the north. At the same time the lines of supply and communication between the diverging Austro-Hungarian armies were stretching to the breaking point. Šrámek recounted: “We slept in the fields – hungry, freezing exhausted… No bread – there is one portion for ten men. We stay without meals for three days…”

After reaching the Kolubara on November 16, the Austro-Hungarians battered Serbian defenses in miserable conditions dominated by freezing rain and snow, finally managing to push the Serbian First Army out of its defensive positions on the southern flank on November 19. Potiorek followed up these gains with another push by Sixth Army against the Serbian First Army on November 21, resulting in heavy casualties on both sides. Now, as the Serbian First Army retreated east, he once again glimpsed the tantalizing prospect of a pincer movement leading to encirclement and total destruction of the Serbian armies.

However Putnik’s skillful management of the Serbian retreat prevented Potiorek from coming to grips with the First Army, aided by the latter’s decision to allow his own troops to rest. Meanwhile crucial supplies of artillery shells from the Allies began arriving from the south, where they were disembarked in the Greek port of Salonika and hurried north to the Serbs by rail. With his ammunition replenished, Putnik decided to stake everything on a surprise counterattack (top, Serbian artillery at Kolubara).

The sudden Serbian assault on December 2, 1914 took the enemy completely by surprise; running low on ammunition and supplies themselves, the over-confident Hapsburg forces were overstretched and had also failed to establish strong defensive positions. The first day’s attack succeeded in pushing the Austro-Hungarian troops back a few miles, and more importantly restored the Serbs’ flagging morale.

On December 3 they resumed the offensive, before the enemy had a chance to reconstitute their defensive line – and now, just as suddenly as they had advanced, the Hapsburg forces simply collapsed. By December 6 they were in headlong retreat, abandoning Valjevo on December 8 and Belgrade on December 14, while the Serbs captured tens of thousands of prisoners. Šrámek wrote in his diary: 

It is all in vain! We’ve been firing for the 4th day now. The Serbs are all around. For 4 days now, we’ve had no food, no officers, and we’ve kept the last hill. Today I was in a real rain of bullets 3 times. The unit is destroyed; each of us has run in a different direction. Grenades crackle in the snow around me. I am dead tired… Suddenly the Serbs were here. “Bacaj puski!” [“Drop your guns!”] 

Any hopes Šrámek and his fellow Slavic soldiers they may have held of gentle treatment from their ethnic cousins, the Serbs, were quickly shattered: 

The Serbs robbed us immediately. I didn’t want to give them my bag. A Serb hit me with the butt end of his gun, and I fell down… The first thing our brother Serbs did was take off our coats and put them on themselves. The same with our shoes. All that had any value – underwear, blankets, watches, money – everything comes in handy for them. All we ate in 3 days were 3 halves of a bread loaf. We slept on the snow and saw the first swamps the first two nights.

In strategic terms the defeat at Kolubara was yet another disaster for the hapless Hapsburgs, coming on top of their earlier humiliation in Serbia in September and their repeated defeats in Galicia, and further confirming the opinion of the German general Erich Ludendorff, fairly dripping with disdain: “Ally? Ha! We are shackled to a corpse!” As 1914 drew to a close it had become clear that Austria-Hungary was entirely dependent on Germany for its continued existence – and the Germans weren’t shy about taking control of the situation, stirring Austrian resentment against the high-handed behavior of the “arrogant Prussians.”

Boer Rebellion Collapses

After the outbreak of hostilities in August 1914, the Germans hoped to distract the British by stirring up colonial rebellions in Africa and Asia, but for the most part these schemes quickly collapsed in the face of the British Empire’s superior resources. The short-lived uprising by several Boer groups in the Union of South Africa was one of the first to be crushed.

Taking advantage of the South African government’s general lack of preparation, compounded by the difficulty of marshaling troops over the vast spaces of the interior, the Boer rebels managed to score a few minor victories at first. On October 24 rebel forces under Christiaan de Wet captured the town of Heilbron in the Orange Free State, and on November 8 they defeated government troops in a skirmish at Doornberg, though De Wet’s son Danie was killed. 

But the net was already closing around them. On October 22 loyalist forces defeated Boer rebels under Manie Maritz at Ratedrai, near Upington, then pursued them until they fled over the border to German Southwest Africa (today Namibia). Meanwhile South African Prime Minister Louis Botha (a Boer who remained loyal to Britain, and was familiar with rebel tactics from his own experience in the Boer War) personally took the field in late October, forcing rebels under Christian Frederick Beyers to flee Rustenburg, Transvaal. 

The climactic battle occurred at Mushroom Valley in the Winburg region of the Orange Free State on November 16, following an all-night march by government forces under Botha. Eric Moore Ritchie, a British observer with Botha’s forces, described the exhausting journey through a strange landscape:

It was bitterly cold – cold as the Free State night on the veld knows how to be. And we could not smoke, could not talk above a faint murmur, and nodded in our saddles. The clear stars danced fantastically in the sky ahead of us, and the ground seemed to be falling away from us into vast hollows, then rising to our horses' noses ready to smash into us…

As dawn broke Botha’s armored cars and machine guns took Wet’s irregulars by surprise in open fields, decimating the rebel force. De Wet himself managed to escape, fleeing to nearby Bechuanaland, and on December 1, 1914 the rest of his troops surrendered. A week later Botha’s troops destroyed another rebel force under Beyers, who attempted to flee by jumping into the Vaal River, but drowned in the swift current. 

Although isolated clashes occurred into 1915, the Boer Rebellion was effectively over. Now the South African Government could return to the main task – the conquest of German Southwest Africa.

Allies Advance in Cameroon 

German Southwest Africa was the scene of just one of several African colonial campaigns during the First World War. While a scrappy colonial force under the brilliant commander Paul Emil von Lettow-Vorbeck defied the British in German East Africa (today Tanzania), on the other side of the continent the Allies were slowly making headway against German forces in Kamerun (today Cameroon – map shows borders before the Treaty of Berlin). 

The commanders of the German schutztruppe in Cameroon, numbering less than 2,000 men in 1914, faced a daunting prospect of war on all fronts, as the colony was surrounded by British Nigeria, and French North Africa, Equatorial Africa, and Congo; the Allies could also call on Belgian troops from the nearby Belgian Congo. However the Germans also enjoyed a considerable defensive advantage thanks to Cameroon’s huge size (comparable to California), sparse population, and extremely rugged terrain, including a mountainous interior blanketed with tropical forests. They also benefited from rivalry between the British and French, who both wanted Cameroon for themselves after the war (the French got it in the end). 

Despite their differences, in 1914 the Allies were able to pick off most of the low-hanging fruit (literally) as they navigated rivers to capture unprotected towns in the low-lying coastal region. The British campaign got off to a bad start with a defeat at Nsanakong on September 6, but they on September 27 they occupied the main commercial city, Duala, and a small British force headed up the Mungo River to capture Yabassi on October 4. Another British force moved up the Nyong River and captured Dehane on October 22, then headed north to capture Edea on October 26. 

On November 15 British colonial troops under Colonel E.H. Gorges captured the German colonial capital, Buea (above, Nigerian troops at Muyuka, near Buea). The French took the coastal town of Kribi on December 2, and on December 10-11 Gorges took Nkongsamba, giving the British control of the German Cameroon Northern Railway, followed by the town of Bare, where in a stroke of luck they captured several German warplanes, still in crates. 

The Allies also made some progress in the interior, as French and Belgian troops occupied Batouri on December 9, Molundu on December 19, and Bertoua on December 29. To the north French troops had occupied all of northern Cameroon by December 12, with the exception of the fortified town of Mora, where British and French troops from Nigeria were repulsed despite their superiority in artillery on October 29-31. The German defenders settled in for a long siege, which continued into early 1915.

However the vast, rugged highlands of central Cameroon remained unconquered, and the Germans were able to recruit more colonial troops in 1915, effectively tripling their small force. Ultimately they would manage to hold out until March 1916. 

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13 Great Facts About Bad Lieutenant
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Lionsgate Home Entertainment

Bad Lieutenant can be accused of many things, but one charge you can't level against it is false advertising. Harvey Keitel's title character, whose name is never given, is indeed a bad, bad lieutenant: corrupt, sleazy, drug-addled, irresponsible, and lascivious, all while he's on the job. (Imagine what his weekends must be like!)

Abel Ferrara's nightmarish character study was controversial when it was released 25 years ago today, and rated NC-17 for its graphic nudity (including a famous glimpse at Lil’ Harvey), unsettling sexual violence, and frank depiction of drug use. The film packs a wallop, no doubt. Here's some behind-the-scenes info to help you cope with it.

1. THE PLACID WOMAN WHO HELPS THE LIEUTENANT FREEBASE HEROIN WROTE THE MOVIE.

That's Zoë Tamerlis Lund, who starred in Abel Ferrara's revenge-exploitation thriller Ms. 45 (1981) more than a decade earlier, when she was 17 years old. She and Ferrara are credited together for writing Bad Lieutenant, though she always insisted that wasn't the case. "I wrote this alone," she said. "Abel is a wonderful director, but he's not a screenwriter. She said elsewhere that she "wrote every word of that screenplay," though everyone agrees the finished movie included a lot of improvisation. Lund was a fascinating, tragic character herself—a musical prodigy who became an enthusiastic and unapologetic user of heroin before switching to cocaine in the mid-1990s. She died of heart failure in 1999 at age 37.

2. CHRISTOPHER WALKEN WAS SUPPOSED TO STAR IN IT.

Christopher Walken had starred in Ferrara's previous film, King of New York (1990), and was set to play the lead in Bad Lieutenant before pulling out at almost the last minute. Ferrara was shocked. "[Walken] says, 'You know, I don't think I'm right for it.' Which is, you know, a fine thing to say, unless it's three weeks from when you're supposed to start shooting," Ferrara said. "It definitely caught me by surprise. It put me in terminal shock, actually." Harvey Keitel replaced him (though not without difficulty; see below), and the film's editor, Anthony Redman, thought Keitel was a better choice anyway. "Chris is too elegant for the part," he said. "Harvey is not elegant." 

3. HARVEY KEITEL'S INITIAL REACTION TO THE SCRIPT WAS NOT PROMISING.

"When we gave [Keitel] the script the first time, he read about five pages and threw it in the garbage," Ferrara said. Keitel's recollection was a little more diplomatic. As he told Roger Ebert, "I read a certain amount of pages and I put it down. I said, 'There's no way I'm gonna make this movie.' And then I asked myself, 'How often am I a lead in a movie? Read it, maybe I can salvage something from it …' When I read the part about the nun, I understood why Abel wanted to make it."

4. IT WAS ORIGINALLY SUPPOSED TO BE FUNNY.


Lionsgate Home Entertainment

"It was always, in my mind, a comedy," Ferrara said. He cited the scene where the Lieutenant pulls the teenage girls over as a specific example of how Christopher Walken would have played it, and how Harvey Keitel changed it. "The lieutenant was going to end up dancing in the streets with the girls as the sun came up. They'd be wearing his gun belt and hat, and they'd have the radio on, you know what I mean? But oh my God, Harvey, he turned it into this whole other thing." Boy, did he. 

5. THAT SCENE WITH THE TEENAGE GIRLS HAD A REAL-LIFE ELEMENT THAT MADE IT EVEN CREEPIER.

One of the young women was Keitel's nanny. Ferrara: "I said, 'You sure you want to do this with your babysitter?' He says, 'Yeah, I want to try something.'"

6. MUCH OF IT WAS FILMED GUERRILLA-STYLE.

Like many indie-minded directors of low-budget films, Ferrara didn't bother with permits most of the time. "We weren't permitted on any of this stuff," editor Anthony Redman admitted. "We just walked on and started shooting." For the scene where a strung-out Lieutenant walks through a bumpin' nightclub, they sent Keitel through an actual, functioning club during peak operating hours.

7. A GREAT DEAL OF THE DIALOGUE AND ACTION WERE MADE UP ON THE FLY.

The script was only about 65 pages at first, which would have made for about a 65-minute movie. "It left a lot of room for improvisation," producer Randy Sabusawa said, "but the ideas were pretty distilled. They were there."

Script supervisor Karen Kelsall said supervising the script was a challenge. "Abel didn't stick to a script," she said. "Abel used a script as a way to get the money to make a movie, and then the script was kind of—we called it the daily news. It changed every day. It changed in the middle of scenes." Ferrara was unapologetic about the script's brevity. "The idea of wanting 90 pages ... is ridiculous."

8. AND THERE WERE EVEN MORE IDEAS THAT THEY DIDN'T USE.

Ferrara said a scene that epitomized the movie for him—even though he never got around to filming it—was one where the Lieutenant robs an electronics store, leaves, then gets a call about a robbery at the electronics store. He responds in an official capacity (they don't recognize him), takes a statement, walks out, and throws the statement in the garbage. "And that to me is the Bad Lieutenant, you know?" Ferrara said. 

9. THE BASEBALL PLAYOFF SERIES IS FICTIONAL.

The Mets have battled the Dodgers for the National League championship once, in 1988. (The Dodgers beat 'em and went on to win the World Series.) For the narrative Ferrara wanted—the Mets coming back from a 3-0 deficit to win the pennant—he had to make it up. He used footage from real Mets-Dodgers games (including Darryl Strawberry's three-run homer from a game in July 1991) and added fictional play-by-play. But the statistics were accurate: no team had ever been down by three in a best-of-seven series and then come back to win. (It's happened once since then, when the 2004 Red Sox did it.)

10. THEY HAD HELP FROM THE COP WHO SOLVED A SIMILAR CASE.

The disgusting crime at the center of the film (we won't dwell on it) was inspired by a real-life incident from 1981, which mayor Ed Koch called "the most heinous crime in the history of New York City." The street cop who solved it, Bo Dietl, advised Ferrara on the film and had an on-screen role as one of the detectives in our Lieutenant's circle of friends.

11. THEY DESECRATED THE CHURCH AS RESPECTFULLY AS THEY COULD.

Production designer Charles Lagola had his team cover the church’s altar and other surfaces with plastic wrap, then painted the graffiti and other defacements on the plastic.

12. IT WAS RATED NC-17 IN THEATERS, WITH AN R-RATED VERSION FOR HOME VIDEO.

Blockbuster and some of the other retail chains wouldn't carry NC-17 or unrated films, so sometimes studios would produce edited versions. (See also: Requiem for a Dream.) The tamer version of Bad Lieutenant was five minutes and 19 seconds shorter, with parts of the rape scene, the drug-injecting scene, and much of the car interrogation scene excised.

13. THE "SEQUEL" HAD NOTHING TO DO WITH IT, NOR DID FERRARA APPROVE OF IT.


First Look International

Movie buffs were baffled in 2009, when Werner Herzog directed Bad Lieutenant: Port of Call New Orleans, starring Nicolas Cage. It sounds like a sequel (or a remake), but in fact had no connection at all to the earlier film except that both were produced by Edward R. Pressman. Herzog said he'd never seen Ferrara's movie and wanted to change the title (Pressman wouldn't let him); Ferrara, outspoken as always, initially wished fiery death on everyone involved. Ferrara and Herzog finally met at the 2013 Locarno Film Festival in Switzerland, where Herzog initiated a conversation about the whole affair and Ferrara expressed his frustration cordially. 

Additional sources:
DVD interviews with Abel Ferrara, Anthony Redman, Randy Sabusawa, and Karen Kelsall.

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15 Things You Might Not Know About One Flew Over the Cuckoo’s Nest
Warner Bros.
Warner Bros.

Milos Forman's One Flew Over the Cuckoo’s Nest, which premiered on this day in 1975, won critical acclaim, box office success, and a shelf full of Oscars. But even if you love the complex exploration of life inside a 1960s psychiatric hospital, there are a few things you may not know about its behind-the-scenes story. 

1. CUSTOMS NEARLY DOOMED THE PROJECT. 

Despite the middling success of the 1963 stage adaptation of Ken Kesey’s novel starring Kirk Douglas, Hollywood legend Douglas was dead set on adapting the story for the screen. Douglas contacted Czech director Miloš Forman about the project, promising to send Forman a copy of the book for his perusal. 

Douglas mailed Forman the novel, but the package was confiscated by Czechoslovakian customs and never reached the director. Unaware of the parcel’s fate, the filmmaker resented Douglas’s broken promise, and Douglas thought Forman rude for never bothering to confirm receipt of the novel. It took a decade to sort the mess out, and things only cleared up when Kirk’s son Michael Douglas took another crack at production and contacted Forman once more. 

2. ONE STUDIO WANTED TO CHANGE THE ENDING.

When producers were shopping the picture to studios, 20th Century Fox was interested, but with a catch. Fox would distribute the film, but only if the filmmakers would agree to rewrite the ending; the studio wanted McMurphy to live. Producers Saul Zaentz and Michael Douglas wisely considered this a deal breaker, and United Artists eventually distributed the film.

3. JACK NICHOLSON AND LOUISE FLETCHER WERE NOT THE FIRST CHOICES FOR THEIR CHARACTERS. 


Warner Bros.

When Kirk Douglas spearheaded the first attempt to bring One Flew Over the Cuckoo’s Nest to life on the big screen in the 1960s, he had intended to play the Randle Patrick McMurphy role himself, just as he had on stage. When production began in earnest 10 years later, Douglas was too old for the part, leaving director Forman to consider and contact the likes of Gene Hackman, Marlon Brando, and (his personal favorite) Burt Reynolds before finally settling on Jack Nicholson.

A number of different actresses were considered for the role of Nurse Ratched, the film’s central antagonist, as well: Anne Bancroft, Colleen Dewhurst, Geraldine Page, and Angela Lansbury were all in the running, before Louise Fletcher ultimately got the part. 

4. LOUISE FLETCHER CHANGED FORMAN’S VIEW ON THE CHARACTER. 

Forman’s original view of Nurse Ratched was as “the personification of evil,” a characterization that made Louise Fletcher a bad fit for the part in the filmmaker’s mind. As Fletcher pressed for the role, Forman’s perspective of Ratched evolved: “I slowly started to realize that it would be much more powerful if it’s not this visible evil,” he said. “That she’s only an instrument of evil. She doesn’t know that she’s evil. She, as a matter of fact, believes that she’s helping people.” This new take on the character paved the way for the official casting of Fletcher. 

5. SEVERAL OF THE FILM’S STARS WERE NOT ACTORS. 

Following the production team’s decision to use Oregon State Hospital as its shooting location, the producers hit on the idea of casting facility superintendent Dr. Dean Brooks as Dr. John Spivey, the doctor charged with assessing R. P. McMurphy’s psychological health. Brooks agreed to play what turned out to be a sizable role, though it would be the only acting job he would ever take. He also helped secure employment for many of his hospital’s patients as extras and crew members during production. 

Mel Lambert, another non-actor, was wrangled to play the harbormaster who protested McMurphy’s ad hoc fishing trip. What’s more, Lambert—a respected area businessman who had a strong relationship with the local Native American community—introduced the production team to Will Sampson, the 6-foot-5-inch-tall Muscogee painter who would make his acting debut as the major character Chief Bromden. 

6. THE STARS LIVED ON THE WARD DURING PRODUCTION. 


Warner Bros.

All of the actors who played patients actually lived on the Oregon State Hospital psychiatric ward throughout production. The men personalized their sleeping quarters, spent their days on campus “get[ting] a sense of what it was to be hospitalized” (as actor Vincent Schiavelli put it), and interacting with real psychiatric patients. 

7. MANY SCENES WERE SHOT WITHOUT THE ACTORS’ KNOWLEDGE. 

To complete this realistic immersion, Forman led his performers in unscripted group therapy sessions in which he directed the actors to develop their characters’ psychological maladies organically. He would often capture footage of the actors, both in and out of character, without explicitly mentioning that the cameras were rolling. The film’s final cut includes a shot of a visibly irritated Fletcher reacting to a piece of direction fed to her by Forman. 

8. FORMAN AND NICHOLSON HAD A TREMENDOUS SPAT OVER THE FILM’S PLOT. 

While the intensity of the turmoil varies from rumor to rumor, reports from the set were consistent on one fact: The star refused to speak with Forman for a large chunk of the production process. Nicholson took issue with Forman’s suggestion that the hospital inmates would be an unruly bunch upon the initial arrival of McMurphy. Instead, the actor insisted that such disavowal of the medical staff’s authority should only begin after the introduction of McMurphy into their lives and routines. 

Although the version of the story that we see in the film today is more closely associated with Nicholson’s alleged reading, suggesting that Forman ultimately took his advice, Nicholson refused to interact with his director from that point forward. When the star and Forman needed to communicate with one another, they used cinematographer Bill Butler as a middleman. 

9. DANNY DEVITO CREATED AN IMAGINARY FRIEND DURING PRODUCTION. 


Warner Bros.

Emotionally strained by a demanding shooting schedule that kept him 3000 miles from his future wife, Rhea Perlman, DeVito developed the coping mechanism of an imaginary friend with whom he would have nightly chats. Concerned that his own sanity might be slipping away, DeVito sought the advice of Dr. Brooks, who assured him that there was no reason to worry as long as DeVito could still identify the character as fictional. 

10. THE CREW WAS WORRIED ABOUT THE SANITY OF ONE CAST MEMBER.

While Dr. Brooks had no concerns about DeVito, he echoed the rest of the cast and crew’s apprehensions about the psychological state of Sydney Lassick, who played Charlie Cheswick. Lassick exhibited increasingly unpredictable and emotionally erratic behavior during his time in character, a pattern that culminated in a tearful outburst during his observation of the final scene between Nicholson and Sampson. Lassick became so overwhelmed during the scene that he had to be removed from set. 

11. FLETCHER TOOK OFF HER CLOTHES IN ORDER TO GET FRIENDLIER WITH HER CO-STARS.

Envious of the camaraderie her male costars had forged, and hoping to dispel any associations with her tyrannical character, Fletcher surprised the cast one evening by ripping off her dress on the crowded ward. Years later, the actress laughed about the display, saying, “‘I’ll show them I’m a real woman under here, you know.’ I think that must have been what I was thinking.” 

12. THE FISHING TRIP SCENE BARELY MADE IT INTO THE FILM. 

Initially, Forman was vocally opposed to including a scene that took place beyond the grounds of the hospital out of concerns that a temporary liberation would undercut the dramatic force of the film’s ending. In the end, Zaentz convinced Forman to shoot the fishing trip sequence. It was the final scene filmed and the only piece shot out of chronological order. 

One thing to look for in the fishing scene: A very subtle Anjelica Huston cameo. Huston, who was dating Nicholson during production, has a nonspeaking role as one of the spectators on the dock as McMurphy and his fellow patients steer the stolen boat back to shore. 


Warner Bros.

13. ONE FLEW OVER THE CUCKOO’S NEST WAS THE FIRST FILM TO WIN ALL “BIG FIVE” ACADEMY AWARDS IN 41 YEARS.

Not since 1934's It Happened One Night swept the Oscars had a film walked away with awards for Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay. One Flew Over the Cuckoo’s Nest took home the lot, with Nicholson and Fletcher winning the top acting awards. The feat would not be matched again for another 16 years, with Silence of the Lambs becoming the next (and last to date) movie to earn the distinction. 

14. THE FILM ENJOYED ONE OF THE LONGEST THEATRICAL RUNS IN MOVIE HISTORY. 

One Flew Over the Cuckoo’s Nest was revered worldwide, but Swedish viewers developed an especially soft spot for the film. Cuckoo’s Nest remained a regular option for Swedish moviegoers through 1987—11 years after its initial release. 

15. KESEY REFUSED TO SEE THE FILM (BUT MAY HAVE BY ACCIDENT). 

The poster child for the “the book was better” movement, One Flew Over the Cuckoo’s Nest author Kesey disapproved of a big screen adaptation of his novel as soon as he found out that the filmmakers had abandoned the use of Chief Bromden as the story’s narrator. Kesey never intended to see the movie, but one story says he inadvertently caught a few moments during a bout of channel surfing one evening. Once Kesey realized what he was watching, he promptly changed stations.

According to fellow novelist Chuck Palahniuk (who has famously praised director David Fincher’s adaptation of his novel Fight Club, plot changes and all), Kesey once stated privately that he did not care for the material.

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