One Flew Over The Cuckoo's Nest Full Movie Free

This review takes a different turn: one movie, two reviewers. One Flew Over the Cuckoo's Nest (OFOCN ) is arguably the most watched psychiatric film in history. Although undisputedly perception‐altering in its day, much of that significance might be lost on younger psychiatric nurses and students. Hence, dual reviewers: a younger nurse (D.J.B. ~30) and an older nurse (N.L.K. ~60).

Watch here>>> One Flew Over The Cuckoo's Nest Full Movie
Downlload Now>>> One Flew Over The Cuckoo's Nest Full Movie

Younger Nurse's Review
When this column was first proposed, I embraced the opportunity to review this iconic film—then immediately experienced a terrible case of writer's block. The novel was published 10 years before I was born and the movie was released when I was only 3 years old. Until I entered nursing school at the age of 25, my understanding of mental health and illness was based on a familiar mix: mainstream media sources, the “wisdom” of family and friends, and some introductory‐level psychology content. Through the narratives of my psychiatric nursing professor, I was able to appreciate the meaning of the historical events featured on the timeline in my nursing textbook. Now as a psychiatric nurse, I feel qualified to review the accuracy of OFOCN 's portrayal of the mental healthcare system, therapeutic environment, treatments, patients, and staff—except that I wasn't there . Therefore, my analysis of this film's historical accuracy is somewhat limited by my lack of personal nursing experience during the era depicted in the story. However, I propose that as new nurses enter the profession, it is our responsibility to become familiar with the history of nursing and health care; otherwise, we are doomed to repeat mistakes and fail to appreciate how—and why—progress was made.

Psychiatric nurses of all generations must be aware of the effect that OFOCN continues to have on their patients. Questions remain: In what ways might OFOCN be useful for student learning? Is the influence of this film based on historically accurate representations? Is OFOCN a “Real Reel” for yesterday . . . or even today? I will present ways in which OFOCN reflects reality in today's mental healthcare system, for better and worse.

Jack Nicholson as Randle Patrick McMurphy
Nicholson won the Academy Award for Best Actor for his performance as McMurphy, whom most reviewers have characterized as a charming rebel who fakes insanity, playfully disrupts the ward's routines, suffers unfair and inhumane treatment by the facility and its staff, and is liberated by a fellow patient who allows McMurphy to die with dignity. I propose that Nicholson did deserve his Oscar for this role—but not for the performance described above. When viewed from a clinical point of view, Nicholson's representation of McMurphy's behavior achieved exactly what antisocial patients seek: He charmed the audience into believing he was the good guy; he wasn't at fault; and that he had been treated unfairly. Therein lies the true accomplishment of Nicholson's work!

McMurphy rebels for the sake of rebellion, not for the sake of any principle. Although he is painted as a symbol of self‐determination in the film, he is actually stumbling irresponsibly through life, reacting dysfunctionally to each challenge, and blaming others every step of the way. He has committed many crimes, including several assaults, theft, and statutory rape. He lies and manipulates others to get his way. McMurphy is described as belligerent, lazy, and resentful toward work; he is vulgar and sexually preoccupied, and he enjoys making people uncomfortable. Although he attempts to charm the psychiatrist with feigned interest to “cooperate 100%,” McMurphy has no intention of receiving treatment or making any personal changes. He fails to foresee the consequences of his attempted ruse and becomes enraged when he learns that the staff have the power to treat him as an inpatient—indefinitely. Authority figures are to be manipulated. He shows little concern for the safety of his ward mates on their fishing trip, recklessly placing vulnerable patients in harm's way to satisfy his own agenda. All of these traits satisfy the DSM–IV criteria for Antisocial Personality Disorder.

When he demands a vote for World Series television‐viewing privileges, he confronts several confused patients on the ward and aggressively orders them to raise their hands in support of his request. McMurphy's motivation is not to encourage them to interact or to support a democratic ward process, or even to ensure an enjoyable group event—it is his own desire not to miss the game. This scene is intended to demonstrate McMurphy's power to liberate the patients from the system, but it also shows how one patient with poor impulse control, no concern for rules or consequences, and no remorse can disrupt the therapeutic environment. Much progress has been made toward ensuring inpatient wards accommodate patients’ needs and rights. However, there must be some rules and routines in place at any facility in order to provide an effective therapeutic environment. Although McMurphy's character was presented as a warrior for desperately needed change, I believe his pattern of behavior indicates that he would be rebellious, disruptive, and destructive in today's inpatient settings as well. Although the film portrays him as the hero, would you want this sexually preoccupied, physically violent felon who doesn't like rules, doesn't care about consequences, and rationalizes his crimes without remorse . . . as your neighbor? Or has McMurphy charmed you, too?

Louise Fletcher as Nurse Ratched
I also believe Louise Fletcher's Academy Award was well earned for a strong performance. Again, however, I believe reviewers and the public have not given her the credit she deserves for her portrayal of an imperfect psychiatric nurse who does do more things right than she does wrong. Of course, the novel may spend more time revealing Nurse Ratched's inner thoughts and motivations. From the film alone, however, viewers must develop their own conclusions regarding her true character and professional behavior.

Nurse Ratched's appearance is intended to be interpreted as harsh, cold, and distant. However, throughout the film I found myself relating to her circumstances and asking, “how should an effective psychiatric nurse respond?” Many times when patients became angry or confrontational, she maintained her composure. The film seems to suggest that she was a cold‐hearted monster because she (almost) never “lost her cool,” when, in fact, it was her job to remain calm and not respond emotionally to challenges from patients—especially not patients with antisocial behavior.

Nurse Ratched's respect for rules and routines is common among nurses and is an integral component of nursing standards; however, her rigidity seems to create more problems than it solves at times. She is aloof, unable to relate to her patients in an approachable, yet professional, manner. She addresses their inconsistencies and failures, but does not demonstrate the warmth that would put them at ease. These flaws can all be found in nurses in many facilities today. While unacceptable, they are not worthy of the title of “villain.”

In the final scenes, however, Nurse Ratched makes a series of poor judgments that result in tragedy. In an emotional response after the patients’ destruction of the ward, she belittles Billy Bibbit in front of all the patients, threatens to call his mother, and has him placed alone in the psychiatrist's office. Considering Billy's previously demonstrated anxiety and intensity, Nurse Ratched is responsible for setting in motion a series of events that result in Billy's suicide. This foreseeable outcome is evidence that Nurse Ratched has failed in her most basic duty—maintaining the safety of her patients. She has allowed her frustration with McMurphy to derail her nursing judgment; she is at fault for the tragic result.

Other Ways the Film Got It Right
Ken Kesey's experience working as a night attendant at Palo Alto Veteran's hospital helped inform his writing. Prior to starting production, the film's director and screenwriters lived on location at Oregon State Hospital for several weeks in order to develop a deeper understanding of their material. In addition, actual patients, aides, and doctors were used for extras and supporting roles—including Dr. Spivey. These activities inevitably contributed to the authenticity of the final product.

Patients at different levels of physical, cognitive, and social functioning were represented in the film. While the film focused on the higher functioning individuals, other patients were shown to be wheelchair bound, nonverbal, with flat affects and no eye contact. Even the high‐functioning patients were revealed to be anxious, delusional, irritable, depressed, suspicious, labile, sexually preoccupied, fearful, and disoriented. One man danced contentedly to music only he could hear.

There was conflict over differences between voluntarily and involuntarily admitted patients. The challenges of establishing an effective treatment plan for a patient admitted by court order were presented. The change of mood on the ward when certain patients came and went was accurately portrayed.

The disagreement among staff members and psychiatrists regarding whether McMurphy was mentally ill was legitimate and familiar. A patient's antisocial behavior can make dispassionate clinical assessment difficult. The film also subtly presented the question: Can a patient with antisocial personality disorder be successfully treated?

There were rules regarding items that could not be brought onto the ward, and patient escape was a daily concern.

•
Patients escalated both individually and as a group at times. In different scenes, the staff responded effectively, ineffectively, and counterproductively to patient concerns and unit disturbances.

•
Social and physical activities were available (card games, stretching, swimming, basketball) and encouraged. The challenge of conducting an organized group activity with participants who were at different levels of cognitive function was well represented.

•
Medication administration was carefully controlled, to avoid patients “cheeking” their pills to discard, save, or share.

Is OFOCN a Real Reel?
The answer is mostly yes. I believe this film is a reasonable telling of one patient's story in one ward. Many of the characters in the film—staff and patients—feel very familiar, as they represent some of the classic profiles that clinicians encounter. The fact that staff members were imperfect, poor judgments were made, and consequences ensued makes this film more—not less—real. Although the film was designed to be antipsychiatry, and superficial reviewers have simplified and amplified the characters’ essences, a careful viewer may see that OFOCN accurately portrays a flawed system inhabited by complicated individuals. Unfortunately, the average viewer may not appreciate the subtleties of the performances and context of the story. However, a skilled nursing instructor could use this film as a learning tool to discuss patient assessment, treatment plans, staff improvement, and ward policies and routines. After all, the best learning sometimes occurs when students see what happens when things don't go well.

Older Nurse's Review
From the outset, as the credits roll by, the eerie background music sets an ominous tone. A car pulls up, then a handcuffed man emerges—the goal of swapping life in a prison for the cushy life in a state mental hospital achieved. Jack Nicholson plays the handcuffed, sociopathic Randle McMurphy. Soon thereafter the audience is introduced to Nurse Ratched, described on the DVD cover as one of the most notorious villains in movie history. Nurse Ratched, draped in a white uniform, white shoes, and white cap, was constructed to evoke judgments of rigidity, compulsivity, etc. She had the opposite effect on me. It made me long for the days when one could tell who the nurses were as opposed to much of the sloppy apparel, long fingernails, and unprofessional behavior one can encounter today.

The film accurately depicts the old state hospital system in both subtle and more important ways:

•
The psychiatric assessment by the psychiatrist was wonderful to witness. He just talked to the patient!

•
Nurse Ratched started group therapy with a brief physical warm‐up routine.

•
Patients were restricted from the nurses’ station.

•
Patients lined up for med call.

A more important accuracy was the caliber of exchange in the group therapy, a point that might be missed by some viewers. Most of those patients, though typical for the era portrayed, would not meet the high threshold for admittance today. The dialogue was crisp, penetrating, and confrontational, just as I remember. The film also captured the patronizing aspects of psychiatry that did occur.

Historical Impact
The movie became a rallying point for reformers of the state‐hospital system. Nicholson's character is sympathetic, especially to a generation just a few years past the social upheavals of the 1960s and Vietnam. McMurphy is painted as a free spirit, who though he manipulates his way into the hospital, upon arrival begins a crusade to free the “inmates.” He sharply contrasts to the rigid, vengeful, and power‐hungry character played by Louise Fletcher (i.e., Nurse Ratched).

Whether wittingly or not, the director provides evidence for Nurse Ratched's decisions, although the intoxicating sway of public opinion prohibited most viewers from connecting those dots. For example, (1) McMurphy stole a bus, herded the patients on it, picked up a hooker, drove to the pier, stole a fishing boat, herded the patients on the fishing boat, set to sea, and put the boat's controls into the hands of a man who had never steered a boat before. (2) McMurphy, planning on escaping, bribes the Black night attendant with two White women and booze. Obviously, this must be a combination that no Black man can resist. (As far as I know, no one ever criticized the film for this racial stereotyping.) The party goes badly. McMurphy provides booze to the patients, calls girls, and has a good time. McMurphy also helps drag a withdrawn young man down the hall into the arms of one of the “girls.”