Behavioral comedy, his forte, is suffocated by nastiness and sentimental antics in Milos Forman’s One Flew Over the Cuckoo’s Nest, a simplistic melodrama based on Ken Kesey’s novel by way of Dale Wasserman’s play. Its mawkish antiestablishmentarianism is passé now, and its misogynism remains strident and reprehensible. Forman manipulated audiences toward an expression of their […]