jack nicholson tribute: SOMETHING’S GOTTA GIVE (2003)
Harry Sanborn in Something’s Gotta Give (2003)
Sharing the screen with Diane Keaton is no easy feat, and, with the exception of maybe Woody Allen, no male co-star seems to have the ability to take any attention away from her. So in Something’s Gotta Give, it’s no surprise that Jack is sent to pick up the remnants of the scenery that Keaton leaves behind. Keaton’s performance is one of her career best (and should’ve gotten her a second Oscar), but I digress. This is about Jack’s showing, and truth be told, I liked it better than most critics did.
Keaton’s Erica certainly outshone Nicholson’s Harry in terms of emotional depth, but at least Jack’s aging was truly addressed in the comedic way that only a director such as Nancy Meyers could muster up. We’re meant to find Harry despicable — he’s a man in his 60s who works in hip hop recording, he goes after women much younger than he, and the idea of dating a woman his own age is preposterous to him. But from the moment the two budding lovebirds inadvertently trade glasses, it’s clear that this sub-geriatric love story has more youth and freshness than most rom-com relations of late.
So say what you will about Jack’s seemingly laid-back, phoned-in performance. Though you get the sense he’s playing himself at many points, he at least understands that his role is to give Keaton some space to do what she does best — the neurotic but intelligent pants-wearer. Though I much prefer other less conventional rom-com performances from the actor (see: As Good As It Gets), he’s an admirable co-star for this lead actress showcase.
Jack’s Performance: B
The Film: A-
jack nicholson tribute: BATMAN (1989)
Jack Napier, The Joker in Batman (1989)
Let’s face it, the most obvious representation of Jack Nicholson‘s signature look (arched eyebrows, giant villainous grin, etc.) is as The Joker in 1989’s Batman. Playing the man who would become Batman’s arch nemesis, Jack channels his seriously crazy side to deliver a performance that, by all intents and purposes, is either the hammiest and most over-the-top one yet, or so crazy it just works. Based on his winning combination of hilariously cheesy zingers and iconic cackle, I’m tempted to go with the latter.
Sure, he’s joined in the film by a gang of mediocre performances (Michael Keaton is the snooziest Batman yet and Kim Basinger is just phoning it in as his love interest), but there’s no denying this theatrical work of art. As Gotham’s one true bad boy, Jack helped kick-start what would later become a train-wreck of a series (and then later yet, a brilliant resuscitation). Tim Burton‘s entirely original vision for this flick gives Nicholson’s performance a huge boost as well.
The movie itself has incredible visuals (as per usual for Burton). The costuming, makeup, and art direction (for which it won the Oscar) are stunning, even now, and Danny Elfman‘s score is rousing and is still commonly attached to most new incarnations of the Batman character. What’s more is that Batman introduced us to mainstay beloved regulars Pat Hingle and Michael Gough as Commissioner Gordon and Alfred, respectively, who would stick with the series through its less than stellar years in the late 1990s.
Jack’s Performance: B+
The Film: B
jack nicholson tribute: THE CROSSING GUARD (1995)
Freddy Gale in The Crossing Guard (1995)
Jack’s Performance: B-
The Film: C-
jack nicholson tribute: CARNAL KNOWLEDGE (1971)
Jonathan Fuerst in Carnal Knowledge (1971)
As seen by his performances in Chinatown and One Flew Over the Cuckoo’s Nest, Nicholson’s role in the ’70s was to take less-than-perfect characters and portray them in a way that makes him difficult to despise, no matter how hard he tries. In Carnal Knowledge, though he’s clearly usurping on his friend’s territory, a part of you thinks he has a right to see his roommate’s girlfriend (Candice Bergen) on the sly. And judging by their more electric connection, she didn’t seem to mind at all. But like other Mike Nichols efforts (see Closer), no one ends up truly happy, and Jack seems the most unfulfilled of them all. Life lesson — don’t make Ann-Margret unhappy.
Jack’s Performance: B
The Film: B-
jack nicholson tribute: TERMS OF ENDEARMENT (1983)
Garrett Breedlove in Terms of Endearment (1983)
Jack’s Performance: B
The Film: B+
jack nicholson tribute: THE WITCHES OF EASTWICK (1987)
Daryl Van Horne in The Witches of Eastwick (1987)
What better way to showcase Jack‘s signature devilish eyebrow arch than by making him the debonair sex-machine personification of evil itself. In The Witches of Eastwick, Jack is joined by three iconic ladies (two of which are fellow Oscar winners — Susan Sarandon and Cher — and the other, who has shamefully been snubbed). So, with a trio of beautiful vixens, how does Jack even stand a chance? Well, though he is hammy as all get out, Jack is believable as the tempter to the town’s three dowdy loners.
Though he probably gets what he deserves, poor Jack is subjected to the coven of ladies as they use their combined powers to bring him down (and all the while remaining helplessly in love with them). And then all notion of seeing Jack as a sex symbol of any kind is done away with as he takes on some… er… less-than-attractive visages (see right). While Jack’s performance is perfectly acceptable as silly summer fare, the film itself is, at times, an over-the-top mess.
Though there are admirable performances all around (character actress Veronica Cartwright is a hoot!), the movie, based on the novel by John Updike, rests on its stars and its fun score (at the 5:00 mark) from John Williams. Despite its flaws, the movie has fairly good rewatchability, and the effects and makeup are still dazzling twenty years later.
Jack’s Performance: B+
The Film: B
jack nicholson tribute: AS GOOD AS IT GETS (1997)
As a tribute to my personal favorite actor, as sparked by the previous post of my favorite leading men of all time, I’ll be taking it upon myself to see as many of the films of Jack Nicholson as I can in the coming weeks. This first tribute post to Mr. Nicholson will be in regards to my personal favorite performance of his.