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Milos Forman: the Evolution of a Filmmaker

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Milos Forman: the Evolution of a Filmmaker MILOS FORMAN: THE EVOLUTION OF A FILMMAKER By THOMAS JAY SLATER \) Bachelor of Arts Michigan State University East Lansing, Michigan 1978 Master of Arts University of Maryland College Park, Maryland 1981 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 1985 MILOS FORMAN: THE EVOLUTI A FILMMAKER Thesis Approved P.A~.~irr~Thesis A~er- --- i i 123356'7 C 0 P Y R I G H T by Thomas Jay Slater Hay 11, 1985 PREFACE Despite the fact that Milos Forman is one of the most successful filmmakers in the world today, no comprehensive analysis of his work presently exists. The most thorough study conducted thus far (by Leonard Lipton in 1974) does not include any of his last four major films, One Flew Over the Cuckoo's Nest (1975), Hair (1979), Ragtime (1980), and Amadeus (1984). Two of these films, Cuckoo's Nest and Amadeus, have won 11 0scars 11 as Best Picture. For his popularity alone, Milos Forman is a director who deserves close attention, but this factor is not the lone reason for his significance. Through ten films over a twenty-one year period, Milos Forman has maintained a consistent vision of the world and a recognizable pair of themes. He continually shows that man has oppressive tendencies, but also the ability to strive for freedom within social limitations. Individuals, in fact, have a responsibility to work towards their own fulfillment, and perhaps, through enough separate efforts, institutions may eventually become less restrictive. These ideas are constant in Forman's films, but his ability to continually give them new relevance is what makes him one of the most important directors of the present era. This study will reveal r~ilos Forman's ability to achieve both a consistent vision and steady evolution in his work by examining his life, his creative methods, and his films. I would like to express my deepest thanks to my major adviser, Dr. Peter C. Rollins, who has guided me through my career at Oklahoma i i i State and this dissertation. I would also like to thank Dr. Leonard J. Leff for his contributions to my film studies over the last four years and steady help and advice, both solicited and unsolicited. Without these two men, my academic career would not be at the point it is today. I honestly cannot thank them enough. The successful completion of this study would also have not been possible without the generous cooperation of Milos Forman and his colleagues Arnost Lustig, Josef Skvorecky, and Michael Weller.- Each of these individuals were more than willing to answer all questions as fully and honestly as possible. Their completely unself-conscious cooperation proves that they are artists primarily because they seek to enlighten others and share their ideas. Finally, and most importantly, I must also thank my family. This work is dedicated to the memory of my father, Garrett Slater. He never liked films, but he taught me to work. I hope that this effort pleases him. My mother, Bertha Slater, shares my gratitude. This work is also dedicated to my loving wife, Mary Ann, and my beautiful daughter, Gretchen Anna. This study does not even begin to repay what I owe them. iv TABLE OF CONTENTS Chapter Page I. AN OVERVIEW OF FORMAN 1S LIFE AND CAREER. I I. COMPETITION AND BLACK PETER--FRESH LOOKS AT CZECH YOUTH AND SOCIETY ................ 16 III. LOVES OF A BLONDE AND THE FIREMEN•s BALL--EVOLUTION IN CONTENT AND TECHNIQUE . 47 IV. TAKING OFF--AN ATTEMPT TO INTERPRET AMERICA ..... 83 V. THE DECATHALON AND ONE FLEW OVER THE CUCKoo•s NEST: COMMENTS ON HUMAN FRAILTY AND AMBITION ...... 107 VI. HAIR--A CONTEMPORARY VARIATION ON CLASSIC HOLLYWOOD MUSICALS . 155 VI I. RAGTIME AND OUR TIME . .. 185 VIII. AMADEUS--EXPLORING THE DIFFERENCE BETWEEN SUBSTANCE AND FORM . 222 IX. CONCLUSIONS: THE MESSAGE OF MILOS FORMAN. 246 BIBLIOGRAPHY. 254 FILMOGRAPHY . 267 v CHAPTER ONE AN OVERVIEW OF FORMAN'S LIFE AND CAREER Over a twenty-one year period, Milos Forman has built an enviable directorial career. Of his nine features, four have been nominated for major Academy Awards: Loves of a Blonde (1965), The Firemen's Ball (1967), One Flew Over the Cuckoo's Nest (1975), and Amadeus (1984). Each of the last two films captured the Bes~ Director award for him and also won as Best Picture. Forman's success is especially admirable because of the honesty in his work. His films contain some qualities that are not very reassuring. The heroes never succeed and are not even very appealing, social leaders are either corrupt or incompetent, and the conclusion presents no clear resolution or promise for a better future. Yet, Forman is basically an optimist. The endings of his films provide a reason for hope, even though they do not suggest that much will ever change. 1 These seemingly contradictory ideas both find their basis in Forman's focus on individual rights and responsibilities. 2 Most of his films examine a clash between a solitary person and a restrictive society. In all of his Czech films (Forman was born in Czechoslovakia and lived there until 1967) except for The Firemen's Ball, the main character is a young person seeking to find his or her identity while also attempting to stay within society's limitations. However, the vague and confusing nature of society's rules, geared more towards 2 preserving order than allowing individual development, is a major problem for each youngster. So, no matter how much the main characters in Competition (1963), Black Peter (1963), and Loves of a Blonde attempt to do what they think is being demanded of them, they are continually frustrated. The rules simply do not make sense. In The Firemen's Ball, Forman shifted his focus to show how the self-centered manipula- tion of power by those in control affects the elderly as well as the young. Forman's concern for the young and the old in his films demon­ strates his compassion for those who lack power in society, whose lives are run by forces beyond their contro1. 3 Forman even demonstrates sympathy for those who are responsible. Though always foolish, they are also understandably human and fallible. The main characters in Forman's American films also attempt to express themselves within a highly structured and restrictive society. They too fight a social system more concerned with maintaining order than providing personal freedom. Forman's heroes thus demonstrate his philosophy that social institutions must be made humanitarian in their orientation and reminded of their purpose to serve people rather than the system. In this sense, the heroes are all admirable, but each of them fails because he lacks knowledge about his environment. Forman always emphasizes that freedom and responsibility are inseparable, and those who do not understand their world, for whatever reason, must pay a price. Larry Tyne in Taking Off (1971), Randle Patrick McMurphy in Cuckoo's Nest, George Berger in Hair (1979), Coalhouse Walker, Jr. in Ragtime (1980), and Antonio Salieri and Wolfgang Amadeus Mozart in Amadeus all fail to act responsibly when given the chance. Each has the opportunity to accomplish more than he actually does if he can learn to work within his limitations rather than continually oppose them. 3 The possibility for freedom within a given set of restrictions is the major theme in Milos Forman's films and represents the optimism of his personal vision. Obtaining that freedom depends upon the person. Individual responsibility is as much a part of Forman's message as the need for institutional humanitarianism. Of Forman's American film heroes, Larry Tyne is the only one to survive because he alone comes to recognize his limits. Forman repeats these themes in each one of his films, yet his work is also constantly changing to reflect both his own concerns and contemporary social themes. His Czech films show an increasingly negative attitude about the inflexibility of the society, a premonition that was fulfilled by the Russian invasion of August, 1968. 4 The American films also all relate directly to their point in time. Taking Off demonstrates the confusion of a middle-age, middle-class parent in a youth-oriented culture. Cuckoo's Nest comments on the nature of power, an appropriate topic for the post-Watergate era. Hair relates to America's need to heal the wounds left from the Viet- nam war. Ragtime presents a powerful statement about individual responsibility, the relationship of technology to power, the role of terrorism in twentieth-century life, and the struggles of minorities to share the resources of wealth and power. Amadeus focuses on the role of the artist in society and the audience's need to recognize the difference between substance and form. Besides these features, Forman also directed a short piece titled The Decathalon for the 1972 film about the summer Olympics, Visions of Eight. For this international event, Forman appropriately selected a universal theme. His film demonstrates the comedy and tragedy of man's struggle to achieve while some dedicate themselves to regulating actions and others merely watch. 4 This view of society is actually present in each of Forman 1 S films. Milos Forman 1 s consistent vision and the steady evolution of his themes and techniques have made him one of the most important directors of the present era. An examination of his life, his creative methods, and most importantly, his films reveals the origin and the basis for both the steady evolution and the continual relevance of his work.
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