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| Mike Nichols: a director who found the zeitgeist in every decade | Mike Nichols: a director who found the zeitgeist in every decade |
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| From Burton and Taylor’s ugly marital war in Who’s Afraid Of Virginia Woolf (1966) right through to Aaron Sorkin’s snappily expressed Washington intrigue in Charlie Wilson’s War (2007), Mike Nichols was bringing literate, grownup dramas and comedies to the screen. He had a gift for helping stars bring their performances into pin-sharp focus and teasing out the romantic chemistry and fizz between his male and female leads. Born in Berlin in 1931, named Mikhail Peschkowsky, to Russian Jewish parents (and a distant cousin to Albert Einstein), he was sent alone as a child to the safety of the United States, where his father anglicised his name. He became a Broadway comic performer with his then-wife Elaine May and then a much-admired stage director who was to become a member of the exclusive EGOT club (having won an Emmy, a Grammy, an Oscar and a Tony) and in the movie projects he chose he had the knack of finding the Hollywood zeitgeist in almost every decade. | From Burton and Taylor’s ugly marital war in Who’s Afraid Of Virginia Woolf (1966) right through to Aaron Sorkin’s snappily expressed Washington intrigue in Charlie Wilson’s War (2007), Mike Nichols was bringing literate, grownup dramas and comedies to the screen. He had a gift for helping stars bring their performances into pin-sharp focus and teasing out the romantic chemistry and fizz between his male and female leads. Born in Berlin in 1931, named Mikhail Peschkowsky, to Russian Jewish parents (and a distant cousin to Albert Einstein), he was sent alone as a child to the safety of the United States, where his father anglicised his name. He became a Broadway comic performer with his then-wife Elaine May and then a much-admired stage director who was to become a member of the exclusive EGOT club (having won an Emmy, a Grammy, an Oscar and a Tony) and in the movie projects he chose he had the knack of finding the Hollywood zeitgeist in almost every decade. |
| After the exciting if somewhat stage-bound Virginia Woolf, Nichols’s sexually daring The Graduate (scripted by Buck Willingham and Calder Henry) opened things up – and introduced the world to Dustin Hoffman, a veritable standard-bearer for smart, disaffected, pained youth, a representative of the alienated times and yet somehow orphaned by them as well. | After the exciting if somewhat stage-bound Virginia Woolf, Nichols’s sexually daring The Graduate (scripted by Buck Willingham and Calder Henry) opened things up – and introduced the world to Dustin Hoffman, a veritable standard-bearer for smart, disaffected, pained youth, a representative of the alienated times and yet somehow orphaned by them as well. |
| He was the spoiled brat with the college degree, floating around all summer in his parents’ swimming pool, embarking on a jaded affair with next-door neighbour Mrs Robinson (Anne Bancroft) and realising almost too late that he has fallen in love with her daughter Elaine (Katherine Ross). The Graduate got Nichols his best director Academy award and in it he pretty well invented the romcom staple: the last-minute rush to prove your love. (Twelve years later, in Manhattan, Woody Allen made this the last-minute rush to the airport.) | He was the spoiled brat with the college degree, floating around all summer in his parents’ swimming pool, embarking on a jaded affair with next-door neighbour Mrs Robinson (Anne Bancroft) and realising almost too late that he has fallen in love with her daughter Elaine (Katherine Ross). The Graduate got Nichols his best director Academy award and in it he pretty well invented the romcom staple: the last-minute rush to prove your love. (Twelve years later, in Manhattan, Woody Allen made this the last-minute rush to the airport.) |
| In the 1970s, Nichols again found himself upscale, modish movies which moved with the times. His screen version of Joseph Heller’s Catch-22 (1970) again scripted by Buck Henry, chimed with anti-Vietnam sentiment and caught the same wave as Robert Altman’s M*A*S*H that year, and his direction of the Jules Feiffer-scripted Carnal Knowledge (1972) reinforced the seductive charm and celebrity status of its star, Jack Nicholson. | In the 1970s, Nichols again found himself upscale, modish movies which moved with the times. His screen version of Joseph Heller’s Catch-22 (1970) again scripted by Buck Henry, chimed with anti-Vietnam sentiment and caught the same wave as Robert Altman’s M*A*S*H that year, and his direction of the Jules Feiffer-scripted Carnal Knowledge (1972) reinforced the seductive charm and celebrity status of its star, Jack Nicholson. |
| In the 1980s, Nichols was working with the biggest female stars and instinctively found a way for their personalities and feelings to register on camera. His Silkwood (1983), co-written by Nora Ephron, reverberated with liberal America’s growing unease with the nuclear industry and gave Meryl Streep one of her most powerful and memorable roles. The “Silkwood shower” scene dramatised a widespread shiver of fear and disgust at nuclear dangers. Another Nora Ephron script, Heartburn (1986) about Ephron’s relationship with Watergate reporter Carl Bernstein, was another opportunity for Nichols to show his expert handling of smart, grownup romance – with Streep and Nicholson. | |
| At the end of the 1980s, Mike Nichols made what for me is among the best of his movies, the rather underrated Working Girl, a terrifically buoyant and effervescent New York romantic comedy with Melanie Griffith as an ambitious secretary whose wicked boss (great work from Sigourney Weaver) pretends to mentor and just steals her business ideas. Nichols makes it all look very easy. In the 90s, Nichols showed how America and the world was beginning to turn away from the yuppie-ism, with his sombre film Regarding Henry, in which Harrison Ford – playing a super-smooth businessman not that far from the one he had played in Working Girl – suffers a brain injury and has to go through painful rehab. | At the end of the 1980s, Mike Nichols made what for me is among the best of his movies, the rather underrated Working Girl, a terrifically buoyant and effervescent New York romantic comedy with Melanie Griffith as an ambitious secretary whose wicked boss (great work from Sigourney Weaver) pretends to mentor and just steals her business ideas. Nichols makes it all look very easy. In the 90s, Nichols showed how America and the world was beginning to turn away from the yuppie-ism, with his sombre film Regarding Henry, in which Harrison Ford – playing a super-smooth businessman not that far from the one he had played in Working Girl – suffers a brain injury and has to go through painful rehab. |
| Primary Colors was a coolly efficient movie version of Joe Klein’s sensational bestselling fictionalisation of the Bill/Hillary political partnership, and he was an eminently sensible choice to direct the screen version of Patrick Marber’s play Closer, although there was now probably a generational difference between the sexual-social mores of Nichols’s generation and Marber’s. | Primary Colors was a coolly efficient movie version of Joe Klein’s sensational bestselling fictionalisation of the Bill/Hillary political partnership, and he was an eminently sensible choice to direct the screen version of Patrick Marber’s play Closer, although there was now probably a generational difference between the sexual-social mores of Nichols’s generation and Marber’s. |
| Mike Nichols was a kitemark of intelligent mainstream Hollywood cinema – his directorial style was the sympathetic platform for smart writing and great acting performances. | Mike Nichols was a kitemark of intelligent mainstream Hollywood cinema – his directorial style was the sympathetic platform for smart writing and great acting performances. |