Although it may sound unusual, I believe that we underappreciate Jack Nicholson’s talent as an actor. Yes, Jack Nicholson is undoubtedly one of the most adored performers in movie history and has won three Academy Awards, but I feel like these days, all we can really say about him is that he’s the naughty scamp you don’t want to cross. Many people would say that his performance in “Batman” or “The Departed” will be just “Jack being Jack.” All of his performances undoubtedly have a wholly distinctive vitality, yet contemporary audiences can fail to notice or even forget about his variety of tones and characters.
Consider “Terms of Endearment,” the movie for which he received his second Oscar. Few people, if any, would name this as one of Nicholson’s trademark performances if you asked them to. It isn’t exactly the monumental, fireworks-filled concerts for which he is most known. I’d even venture to suggest that many nascent film enthusiasts are unaware Jack Nicholson is in “Terms of Endearment.” The movie was a major event when it came out, earning the second-highest box office revenue of the year and winning five of the 11 Oscars it was nominated for, including Best Picture (behind a little picture called “Return of the Jedi”).
The lack of discussion of the movie today may be due to the fact that it stars women, and many so-called movie enthusiasts appear willing to ignore those. But because he can spot a good screenplay when he sees one, Jack Nicholson had no qualms about playing a supporting role in James L. Brooks’ directing debut. Furthermore, this one in particular did something unusual. It caused him to cry.
‘I know just how that guy feels’
Jack Nicholson portrays an ageing astronaut in the movie “Terms of Endearment” who has been trying to hang on to his glory days by sleeping with any younger woman who is smitten by his fading renown. Aurora Greenway, played by Shirley MacLaine, lives next door to him, and despite being initially put off by his playboy behaviour, the two soon begin dating. Nicholson discussed how that subject and character really touched something true in him and how he was quick to commit himself to the project in his conversation with the late, great Roger Ebert:
“I read the screenplay, and became the first enthusiast. How many scripts make you cry? I read dozens if not hundreds of screenplays every year, and I don’t read that many parts where I can say, like I did with ‘Easy Rider,’ that, yeah, sure, I could play that guy. I know just how that guy feels.”
You may understand why Nicholson found this persona to be so relatable if you are familiar with his convoluted philosophy on sex and relationships. This man has fathered six children with five different women, after all. James L. Brooks was able to draw on that aspect of Nicholson’s character and examine it in great depth, not merely for humour.
Even though this was a supporting role, it made no difference. The astronaut played by Nicholson is an addition to the mother and daughter who are the main subjects of “Terms of Endearment.” The performance was excellent, and that is ultimately what counts:
“My whole career strategy has been to build a base so that I could take the roles I want to play. I’d hate to think that a shorter part might not be available because I was worried about my billing.”
He shows up for Jim
It’s obvious that Jack Nicholson and his writer/director connected. James L. Brooks, who became well-known through television shows including “Taxi,” “The Mary Tyler Moore Show,” and ultimately “The Simpsons,” has only ever directed six major motion pictures. Four of them have Nicholson in them. As Good As It Gets is an example of a leading role, whereas Broadcast News is an example of a cameo. But it’s obvious that the man accepts the fully realised reality that Brooks is able to convey in his best work. In actuality, Brooks’ films have received two of Nicholson’s three Oscar wins.
Brooks was able to call up Nicholson, who appeared to be in a soft retirement after “The Bucket List,” and convince him to star in the film when Bill Murray abruptly withdrew from “How Do You Know.” The $12 million payday, I’m sure, didn’t hurt either. This continues to be Nicholson’s last acting role, and Brooks’ last picture as a director.
Over the course of his career, Jack Nicholson did not have many lasting connections with filmmakers. Bob Rafelson, Mike Nichols, and James L. Brooks were the main three. Nicholson was given room by all three of these directors to portray complex, fully realised human beings. Although these are not his most eye-catching pieces, they are undoubtedly some of the most satisfying. Jack Nicholson frequently conjures up images of the supernatural, but James L. Brooks was able to harness that in films like “Terms of Endearment” and transform him into a real, breathing human being. It makes sense why he answers Jim Brooks’ phone.
