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Fall of Przemyśl

March 22-23, 1915: Fall of Przemyśl

For 131 days from November 12, 1914 to March 23, 1915, the Austrian fortress town of Przemyśl (Puh-SHEM-ish-le) was under siege, with around 130,000 Habsburg troops trapped by a Russian force of about the same size, determined to starve the enemy into submission. The beleaguered defenders finally threw in the towel on March 22-23, 1915, when they destroyed their own fortifications and surrendered en masse.

In fact this was the second siege of Przemyśl during the war, reflecting the dramatic “seesaw” dynamic that prevailed on the Eastern Front in the opening months of the conflict: the Russians had to break off a previous siege from September 27-October 11, 1914 after Habsburg forces came to relieve the defending force. However following Hindenburg’s withdrawal from central Poland in late October, the Russians returned to the attack, capturing the nearby fortress of Jaroslav, about 20 miles northwest of Przemyśl, on October 23.

Now Austrian chief of the general staff Conrad von Hötzendorf made what was possibly the greatest mistake of his career, by ordering part of the Habsburg Third Army and the fortress garrison, numbering 130,000 men, to try to hold out in Przemyśl rather than retreat with the rest of Austria-Hungary’s forces. Conrad hoped he would once again be able to lift the siege and relieve the Third Army, while it tied down significant Russian forces in the rear in the meantime.

Conrad’s counteroffensive in early December met with some success, scoring a victory at the Battle of Limanowa-Lapanów and forcing the Russian Third Army back about 40 miles from Krakow – but then ground to a halt due to a lack of reserves and supplies. Around this time the ignominious defeat by ragged Serbian defenders at Kolubara spelled even more trouble for the beleaguered Dual Monarchy. Nonetheless, Conrad ordered two more desperate attempts to relieve the fortress in January and February 1915, which also failed at great cost, as under-supplied Habsburg soldiers fell by the thousands in Carpathian mountain passes clad in the snow and ice of midwinter. Bernard Pares, a British historian accompanying the Russians as an observer, witnessed an ill-fated assault by an Austrian unit from Tyrol in February 1915:

When the hill… had been covered with shell, a whole division of the gallant Tirolese advanced…They ensconced themselves at night in rifle pits on a lower ridge of the hill… and even occupied some disused trenches only fifty yards from the Russians… And now came the reply. Standing up under the cannonade the Russian infantry, with the support of its machine guns, poured in such volleys that everything in front of it went down… the trenches occupied by the Tirolese became a line of corpses… Russian troops on the flank passed won towards the river and took the enemy in the flank… leaving 1300 corpses in the wood and in the open… Prisoners told me they had not eaten for four days, and that enteric and typhus were rampant in their trenches, which were often full of water.

With the failure of these offensives it was only a matter of time before Przemyśl succumbed. The defenders had been subjected to bombardment by Russian artillery on a more or less daily basis for months on end, and supplies were dwindling. On March 13 the Russians captured the nearby village of Malkovise, penetrating the outer line of the town’s defenses, which allowed them to begin bombarding the inner defenses with deadly accuracy (below, wrecked fortifications).   

By March 18 the remaining provisions were finished, and discipline was breaking down as hungry soldiers desperately searched for food. The following day a final attempt to break out failed utterly in the face of Russian defenses, which included 30 miles of trenches and 650 miles of barbed wire. On March 21 Helena Jabłońska, a Polish inhabitant of Przemyśl, recorded the final hours of the besieged city in her diary as Habsburg soldiers (many of them Hungarian and ill-disposed towards Slavs and Austrians) began looting their own countrymen:

All night long I could hear the racket and din of railings, stakes, and parquet floors being ripped up. This morning my lodgers commiserate about the looting marauders. The soldiers are tearing up the stakes in our garden, they have smashed up the apple cellar, they’ve stolen everything and hacked it all to pieces… They come storming into my kitchen and take anything they like. I close the door but they hammer at it, they bang and kick it in and I have to give them my last mouthful of food.

The following day, with capitulation looming, in order to prevent the Russians from using the fortress themselves the Habsburg commander General von Kusmanek ordered his troops to destroy the remaining defensive works with explosive charges, even as the Russians continued to rain shells down on them. Jabłońska described the dramatic sight that greeted the remaining inhabitants:

At around 2 a.m. they began blowing up the works. Along with the throbbing and screaming of artillery this was so horrible that we were all rigid with fear… We went outside. There were crowds of panic-stricken people with trunks, bundles and children hurrying down the street, their eyes wide with fear, while we stood waiting, shivering with cold. The first ammunition dump exploded with a terrifying boom, the ground shook and the glass fell out of all the windows. Clouds of ash cascaded from chimneys and stoves, and chunks of plaster fell from the walls and ceilings. There was a second boom. As they day dawned the town looked like a glowing, smoking crater with pink flames glowing from below and morning mist floating above – an amazing, menacing sight.

On the afternoon of March 22 Kusmanek finally sent a message of surrender to the Russian commander, General Selivanoff, who ordered his troops to occupy the city the following day. Altogether the Russians captured 119,500 officers and men, along with 1,000 pieces of artillery, though much of it was obsolete (below, Austrian prisoners).

And still the fighting continued, as the Austrians and Russians grappled for control of the strategic passes through the Carpathian Mountains, and hundreds of thousands of soldiers on each side met their demise in dense forests and snow-covered slopes. Dominik Richert, a German soldier from Alsace recently transferred to the Eastern Front, recalled the battle to capture Zwinin Mountain on April 9, 1915:                      

As soon as we left the trench the Russians appeared above us and welcomed us with rapid fire… There was so much yelling and shooting that it was not possible to hear commands, or anything else. Suddenly a Russian machine gun began firing at our flank… At particularly steep places, the people who were hit tumbled quite a way back down the hill… At last, out of breath, we reached the Russian positions. Some of the Russians continued to defend themselves, and they were stabbed to death with bayonets… At some places there were deep snowdrifts. The Russians sank in them up to their waists and were unable to move quickly, so they were almost all shot dead or wounded.

By this point in 1915 the Habsburg forces had already suffered astronomical losses in their futile struggle to recapture the Carpathian passes and liberate Galicia. Indeed, out of 1.1 million Habsburg troops deployed on the Carpathian front in the first four months of 1915, over half (600,000) were killed, wounded, taken prisoner, or incapacitated by disease.

Typhus Epidemic Spreads in Serbia

As human beings were slaughtering each other by the hundreds of thousands, a microscopic killer was stalking Europe as well – Rickettsia prowazekii, the bacterium responsible for epidemic typhus spread by human body lice.

Although typhus affected soldiers on both sides and all fronts during the war, the worst outbreaks occurred in the Balkans and the Eastern Front, including Serbia, Romania, Poland, and Russia. Russia alone suffered three million deaths during the Russian Civil War from 1918-1922. However Serbia was the first and hardest hit in proportional terms, with over 200,000 deaths out of a total population of three million, including 70,000 Serbian troops – a loss which the Serbian military simply couldn’t afford. Roughly half of the 60,000 Habsburg prisoners of war held in Serbia also died of typhus.

According to Ruth Farnam, a British nurse who volunteered in Serbia, local authorities were completely unable to cope with the scale of the epidemic. In early 1915 she wrote:: “The infection quickly spread and soon the deaths were so numerous that in the smaller villages the dead could not be buried. The only way the bodies could be disposed of was by piling rubbish in the doorways of the houses where such deaths had occurred and setting fire to it.” In a measure of the Serbian government’s desperation, prisoners of war were now drafted as nurses to help care for the sick. In February 1915 Josef Šrámek, a Czech soldier in the Habsburg forces taken prisoner by the Serbs at Kolubara, wrote:

There are 5 of us nurses serving more than 80 people who are sick with typhus. I shudder to look at them. The majority of them are Serbs, thin recruits with frostbitten legs. They lie on mattresses on the ground, in dirt like I have never seen in my life. They cannot walk, and the toilets are too far anyway… It’s hell. 6 or 8 of them die every day, and others take their places. The lice seem to move the entire building. There is no medication… The Croats and Bosnians rob the dead and search them – I would not touch them even if they had thousands on them.

Unsurprisingly in early March Šrámek himself fell sick. On March 22 and 25 he finally updated his diary after a three-week gap:

Finally I came around again. I don’t know what was going on with me for 20 days. They say I could not accept anything [to eat] for 7 days; later I could only accept tea and milk. My fever reached 41° C [105.8° F]. I got a grip on myself slowly. I did not know where I was or what my name was. I am still too weak to stand up… In the meantime someone stole my uniform and coat, so I am naked. They also stole my wallet… I saw the wallet with one of the Serbs, but when I demanded it he hit me.

Of course, typhus wasn’t the only disease threatening Europe’s militaries from the rear. Typhoid fever (not to be confused with typhus), dysentery, malaria, and cholera were also constant concerns – although with cholera at least there was the possibility of preventive vaccination. One British prisoner-of-war, Henry Mahoney, described the primitive method used by German prison doctors on their wards:

The military doctor was accompanied by a colleague carrying a small pot or basin which evidently contained the serum. The operation was performed quickly if crudely. The vaccinator stopped before a man, dipped his lance or whatever the instrument was into the jar, and gripping the arm tightly just above the elbow, made four big slashes on the muscle. The incisions were large, deep, and brutal-looking. Then he passed to the next man, repeating the process, and so on all along the line.

South African Victory at Riet

Although the Great war in Southwest Africa involved far fewer combatants than the war in Europe – around 43,000 South Africans fighting for the British, versus fewer than 10,000 German colonists – it was fully as epic in geographic terms, as these small forces ranged over thousands of miles of rugged desert, mountains, and scrubland.

After a delay caused by the Boer rebellion, finally crushed in December 1914, the basic British plan of attack on the German colony called for three expeditions – one led inland by South African prime minister Louis Botha from the camp he established after landing at Walfisch Bay in January; a second, led by General Duncan Mackenzie, from the port of Luderitzbucht, captured in October 1914; and a third, composed on various forces from the south and west, converging on the town of Keetmanshoop, where they would join forces with Mackenzie.

The first major Allied victory in the campaign came on March 20, 1915, when Botha led his troops east to attack a German force holding defensive positions on hills east of Swakopmund, where it threatened to cut the rail line and communications the South Africans would need to proceed into the interior.

Botha hoped to turn the German flanks with attacks on the right and left, but the attack on the right flank, south of the Swakop river, stumbled as the South African cavalry couldn’t negotiate the steep, rocky hills. However the attack on the left flank north of the river proved more successful, as the South Africans captured the entrance to a pass at the foot of Husab and Pforte Mountains, a key part of the German defenses. Another South African force then pushed forward along the railway, threatening the Germans from the rear and forcing them to retreat.

Needless to say, fighting in the African bush was no walk in the park. Eric Moore Ritchie, an observer with Botha’s force, described the conditions:                      

From 6.30 till 10 o'clock the desert is endurable. Then comes the change. All along the front the stark yellow sand is taking on a different hue under the climbing sun rays. It turns almost to glaring whiteness all around… And all afternoon the heat strikes up at you overpowering, like the breath of a wild animal. Then the wind rises, and the sand shifts in eddies. Veils and goggles are useless. They can't keep out that spinning curtain of grit.

A few days later, on March 26, Botha led his troops back to their base at Walfisch Bay, and Ritchie painted an eerie picture of the column proceeding through a lunar landscape without a sound:

The mist from the coast had rolled inland; through it after dawn came miles of horsemen and wagons, guns, limbers, lorries, ambulances. Every human unit in that column was covered in white dust, and every horse was weary. And except for the staccato "click-click" of bits and an occasional deep hum from a passing motor the army moved in perfect silence through the sand.

See the previous installment or all entries.

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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.


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"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.


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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
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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. 


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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. 


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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. 


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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. 


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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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