Generally overlooked due to the subsequent fame and success of "One Flew Over the Cuckoo's Nest," this film based on Ken Kesey's other great novel has a lot to recommend it. As a reasonably entertaining movie it's not bad; but as an adaptation of what is, admittedly, a long, dense and narratively complex book, this is something of a disappointment.
John Gay's screenplay is a model of brevity. But in addition to jettisoning most of the backstory of the Stamper clan -- no doubt due to budget/running time constraints -- he also failed to incorporate much of Kesey's rich, idiosyncratic dialogue that conveys so much of the characters' personalities. Only Henry Fonda's colorful old coot patriarch talks with any flavor of the region and setting.
Paul Newman does good work with the actors -- no surprise there -- and capably handles the rugged toil of the logging operations. But he fails to get much conviction out of Michael Sarrazin as the wayward son returned home unexpectedly, and Lee Remick is largely wasted as Newman's decorative but emotionally wounded wife .
There's just too much plot and too many great scenes from the book missing here. The excellent photography (on authentic Oregon locations) helps, as does a flavorful score by Henry Mancini.
But stick with it for one standout set-piece near the end. After a long, arduous day that has the Stampers desperately striving to fulfill their logging contract on time, Richard Jaeckel, as the cheerful, born-again cousin Joe-Ben, gets trapped under a fallen log in a lagoon. The inexorable tide slowly drowns him, with Newman helpless beside him, and it's a truly harrowing scene. Jaeckel was nominated for an Oscar for it, and Newman's direction is masterful.
Overall, worth a look, but if you're a fan of the book, don't expect too much.
John Gay's screenplay is a model of brevity. But in addition to jettisoning most of the backstory of the Stamper clan -- no doubt due to budget/running time constraints -- he also failed to incorporate much of Kesey's rich, idiosyncratic dialogue that conveys so much of the characters' personalities. Only Henry Fonda's colorful old coot patriarch talks with any flavor of the region and setting.
Paul Newman does good work with the actors -- no surprise there -- and capably handles the rugged toil of the logging operations. But he fails to get much conviction out of Michael Sarrazin as the wayward son returned home unexpectedly, and Lee Remick is largely wasted as Newman's decorative but emotionally wounded wife .
There's just too much plot and too many great scenes from the book missing here. The excellent photography (on authentic Oregon locations) helps, as does a flavorful score by Henry Mancini.
But stick with it for one standout set-piece near the end. After a long, arduous day that has the Stampers desperately striving to fulfill their logging contract on time, Richard Jaeckel, as the cheerful, born-again cousin Joe-Ben, gets trapped under a fallen log in a lagoon. The inexorable tide slowly drowns him, with Newman helpless beside him, and it's a truly harrowing scene. Jaeckel was nominated for an Oscar for it, and Newman's direction is masterful.
Overall, worth a look, but if you're a fan of the book, don't expect too much.