Word: nicholson
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...think he perpetually overacts. He might, but that's what makes him so interesting. Most comfortable in "psycho" roles, Dern's bulging eyes and thin, strangled voice convey inner torment and rage better than any film star today. He frequently suggest a cross between Anthony Perkins and Jack Nicholson--a homey, sardonic, seventies Norman Bates--and those quivering depths make his comparatively restrained performances in The Great Gatsby and Smile teeter devastatingly on the brink of an explosion. But in his all-out roles--in Silent Running, Black Sunday, Coming Home-- Dern makes an art of modern crack-up: shaking...
...never wanted to do a film so badly, except maybe 'One Flew Over the Cuckoo's Nest,' which I didn't try hard enough to get, and lost out to Jack Nicholson," he said. He added that the movie, which will be released in 1979, is a "romantic comedy, sort of a masculine counterpart of An Unmarried Woman,'" in which a middle-aged, conservative college teacher tries to recover from his divorce...
...work is well but incompletely known. For Americans, in fact, a full-scale retrospective show has long been needed to set in view the osmotic Nicholson exchange between the worlds of natural and abstract form. Now, for the first time, one has been mounted. Organized last fall by Chief Curator Steven Nash at the Albright-Knox Art Gallery in Buffalo, it will be at Washington's Hirshhorn Museum until...
...artist whose specialty also was still life, Nicholson grew up in a visually literate milieu. Because it was English, it was conservative. Ben's first real contact with modern art did not occur until the 1920s, when he saw a Picasso in Paris. "It was what seemed to me then completely abstract," he recalled later, "and in the center there was an absolutely miraculous green-very deep, very potent and very real...
That sense of reality in the midst of abstraction, of the painting as an object rather than an image, would stay with Nicholson. It is not much to the fore in his first tentative cubist paintings, but it is evident in the severely geometric white reliefs Nicholson did in the 1930s under the spell of constructivism and Mondrian, and it pervades his later work. The viewer is always aware of material gently asserting itself: how the tobacco-brown hardboard, rubbed and glazed with a pow dery white or blue that clings to its sur face like fog to a headland...