{"id":9342,"date":"2018-04-16T15:37:34","date_gmt":"2018-04-16T13:37:34","guid":{"rendered":"https:\/\/openasia.org\/en\/?p=9342"},"modified":"2018-04-16T15:38:28","modified_gmt":"2018-04-16T13:38:28","slug":"milos-forman-obituary-oscar-winning-director-of-one-flew-over-the-cuckoos-nest-and-amadeus","status":"publish","type":"post","link":"https:\/\/openasia.org\/en\/2018\/04\/milos-forman-obituary-oscar-winning-director-of-one-flew-over-the-cuckoos-nest-and-amadeus\/","title":{"rendered":"Milo\u0161 Forman obituary Oscar-winning director of One Flew Over the Cuckoo\u2019s Nest and Amadeus"},"content":{"rendered":"<header class=\"content__head content__head--article tonal__head tonal__head--tone-news\">\n<figure id=\"img-1\" class=\"media-primary media-content ()  \" data-component=\"image\" data-media-id=\"b60c085e57740326f76504b006672063789ab580\">\n<div class=\"u-responsive-ratio\"><a href=\"https:\/\/www.theguardian.com\/film\/2018\/apr\/15\/milos-forman-obituary\">The Guardian<\/a><\/div>\n<div class=\"u-responsive-ratio\">\u00a0<a href=\"https:\/\/openasia.org\/en\/wp-content\/uploads\/2018\/04\/Milos-Forman.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-9344\" src=\"https:\/\/openasia.org\/en\/wp-content\/uploads\/2018\/04\/Milos-Forman.jpg\" alt=\"\" width=\"615\" height=\"384\" srcset=\"https:\/\/openasia.org\/en\/wp-content\/uploads\/2018\/04\/Milos-Forman.jpg 615w, https:\/\/openasia.org\/en\/wp-content\/uploads\/2018\/04\/Milos-Forman-300x187.jpg 300w, https:\/\/openasia.org\/en\/wp-content\/uploads\/2018\/04\/Milos-Forman-174x108.jpg 174w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\" \/><\/a><picture><\/picture><\/div><figcaption class=\"caption caption--main caption--img\"><\/figcaption><\/figure>\n<\/header>\n<div class=\"content__article-body from-content-api js-article__body\" data-test-id=\"article-review-body\">\n<p>When Milo\u0161 Forman, who has died aged 86, travelled to Prague to shoot the film\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2011\/dec\/20\/my-favourite-film-amadeus\" data-link-name=\"in body link\">Amadeus<\/a>\u00a0in 1984, it was the first time he had set foot in his homeland for 16 years. He had fled communist Czechoslovakia in 1968 just before the Russians\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/world\/gallery\/2008\/aug\/21\/1968theyearofrevolt.russia\" data-link-name=\"in body link\">put an end to the Prague Spring<\/a>.<\/p>\n<p>In the US, when he was offered<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/one-flew-over-the-cuckoo-s-nest\" data-link-name=\"in body link\">\u00a0One Flew Over the Cuckoo\u2019s Nest<\/a>\u00a0(1975), set in a state psychiatric hospital, he saw it as a metaphor for the conformist society from which he had escaped. Forman identified with McMurphy (<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/jacknicholson\" data-link-name=\"in body link\">Jack Nicholson<\/a>), the grinning antihero fighting the system as represented by Nurse Ratched, played with chilling authority by Louise Fletcher. McMurphy is finally lobotomised after attempting to throttle the nurse, who signified the way totalitarian regimes exact revenge on transgressors. It was something Forman knew about personally, having lived under nazism and Stalinism.<\/p>\n<p>The picture, made at a cost of $3m, earned more than $50m. It was also the first movie since It Happened One Night (1934) to win all five top Oscars: best picture, best actor (Nicholson), best actress (Fletcher), best director and best screenplay adaptation. It was an especially sweet triumph for Forman, who had been struggling to get work when One Flew Over the Cuckoo\u2019s Nest came along.<\/p>\n<aside class=\"element element-rich-link element--thumbnail element-rich-link--upgraded\" data-component=\"rich-link\" data-link-name=\"rich-link-1 | 1\">\n<div class=\"rich-link tone-news--item rich-link--pillar-arts\">\n<div class=\"rich-link__container\">\n<div class=\"rich-link__image-container u-responsive-ratio\"><img decoding=\"async\" src=\"https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Guardian\/Pix\/pictures\/2013\/8\/27\/1377600837968\/One-Flew-Over-the-Cuckoos-010.jpg?w=460&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=29bd33acffa2ba5a69a2e017d3490047\" \/><\/div>\n<div class=\"rich-link__header\">\n<h1 class=\"rich-link__title\"><a class=\"rich-link__link\">Why I love \u2026 the supporting cast of One Flew Over the Cuckoo&#8217;s Nest<\/a><\/h1>\n<\/div>\n<div class=\"rich-link__read-more\">\n<div class=\"rich-link__read-more-text\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/aside>\n<p>Born in \u010c\u00e1slav, near Prague, Forman was eight when his father, Rudolf Forman, a professor, and mother, Anna \u0160v\u00e1bov\u00e1, a hotelier, died in Nazi concentration camps. He was brought up by two uncles and friends of his parents, and it was much later that he discovered that his biological father was a Jewish architect, Otto Kohn.<\/p>\n<p>In 1950, aged 18, he enrolled in the newly founded Prague film school, Famu, and began directing documentaries for Czech television four years later. In 1963, Forman made two short films, one on a talent contest, and the other on a band competition, which revealed his keen eye for the minutiae of human behaviour and a taste for gently mocking simple pleasures. After these shorts, in which he gave documentary material fictional form, his first feature, Peter and Pavla (AKA Black Peter, 1964), gave his fictional material documentary form. By using mostly non-actors, improvised dialogue and filming in the streets, Forman brought a new vitality into Czech cinema.<\/p>\n<figure id=\"img-2\" class=\"element element-image img--landscape element--supporting  fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"d8b9c3b484c0fa22f79bde33b503aee26a270d76\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=380&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=655e087bb90d2a6d257c542777728b31 760w\" media=\"(min-width: 1300px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 1300px) and (min-resolution: 120dpi)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=380&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=0a8933dcb58157651f4b916ae88a4f1f 380w\" media=\"(min-width: 1300px)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=300&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=c555926b2bfdf3ee15749ef6d1134d58 600w\" media=\"(min-width: 980px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 980px) and (min-resolution: 120dpi)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=0bf76aef8ac02ea38021ee41b274325f 300w\" media=\"(min-width: 980px)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=620&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=5bb9e05bbc0fa9cc2ee32cdf71c164f7 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=620&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=591a5f66e277105b9962b03da6ad8ff6 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=605&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=37b9f8e38c488368c18a357b3f0a364b 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=605&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=f7367c37ae0aa9ca91164f8c73cf1e28 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=445&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=388bc393766874eeb6a323cd52c3a18b 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=445&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=18c42948e9a6b4e7f83f48a7c8963323 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/d8b9c3b484c0fa22f79bde33b503aee26a270d76\/0_388_3328_1996\/master\/3328.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=0bf76aef8ac02ea38021ee41b274325f\" alt=\"Milos Forman filming Taking Off, 1971.\" \/><\/picture><\/div>\n<div class=\"block-share block-share--article  hide-on-mobile \" data-link-name=\"block share\"><a class=\"rounded-icon block-share__item block-share__item--facebook js-blockshare-link\" href=\"https:\/\/www.facebook.com\/dialog\/share?app_id=180444840287&amp;href=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_fb%26page%3Dwith%3Aimg-2%23img-2&amp;picture=https%3A%2F%2Fmedia.guim.co.uk%2Fd8b9c3b484c0fa22f79bde33b503aee26a270d76%2F0_388_3328_1996%2F3328.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social facebook\"><span class=\"u-h\">Facebook<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--twitter js-blockshare-link\" href=\"https:\/\/twitter.com\/intent\/tweet?text=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_tw%26page%3Dwith%3Aimg-2%23img-2\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social twitter\"><span class=\"u-h\">Twitter<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--pinterest js-blockshare-link\" href=\"http:\/\/www.pinterest.com\/pin\/create\/button\/?description=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3Fpage%3Dwith%3Aimg-2%23img-2&amp;media=https%3A%2F%2Fmedia.guim.co.uk%2Fd8b9c3b484c0fa22f79bde33b503aee26a270d76%2F0_388_3328_1996%2F3328.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social pinterest\"><span class=\"u-h\">Pinterest<\/span><\/a><\/div><figcaption class=\"caption caption--img caption caption--img\"><span class=\"inline-triangle inline-icon \">\u00a0<\/span>Milos Forman filming Taking Off, 1971. Photograph: Universal\/Kobal\/Rex\/Shutterstock<\/figcaption><\/figure>\n<p>As sharply observed and satirically affectionate was A Blonde in Love (AKA Loves of a Blonde, 1965). It told of a shy romantic factory girl in a small town depleted of men, who falls in love with a visiting young pianist, but is made unwelcome by his parents when she pursues him to Prague. One of the most delightful sequences shows a group of middle-aged army reservists trying to pair off with some of the bored local girls at a dance.<\/p>\n<p>Forman\u2019s films, and others of the Czech new wave, introduced to the cinema portrayals of working-class life untainted by the formulae of socialist realism. Though fiercely attacked by Stalinist reviewers initially, the more liberal faction of the Communist party, then in ascendancy, appropriated these movies as expressions of the new concept of \u201csocialist\u201d art.<\/p>\n<p>People were more wickedly satirised by Forman in\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2001\/mar\/23\/culture.peterbradshaw\" data-link-name=\"in body link\">The Firemen\u2019s Ball<\/a>\u00a0(1967). A beauty contest fizzles out when the contestants refuse to leave the cloakrooms, the raffle prizes are stolen, someone has a heart attack and a house burns down. The film, which took some sideswipes at petty bureaucracy, brought the director into disfavour with the authorities and caused 40,000 Czech firemen to resign in protest until it was explained that the picture was merely allegorical. Following the Soviet invasion of 1968, The Firemen\u2019s Ball was listed as one of four Czech films to be banned \u201cforever\u201d. It was the last Forman made there before he left for\u00a0the US.<\/p>\n<p>Taking Off (1971), in which he cast his sardonic eye on American middle-class families, failed commercially. In 1972, he directed The Little Black Book, a play by his friend Jean-Claude Carri\u00e8re, on Broadway. It ran for seven nights. Then, the US immigration service, acting on a complaint from the Directors Guild of America, nearly prevented him from working. Fortunately,\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2011\/apr\/10\/sidney-lumet-obituary\" data-link-name=\"in body link\">Sidney Lumet<\/a>, Paddy Chayefsky,\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/global\/2014\/nov\/20\/mike-nichols\" data-link-name=\"in body link\">Mike Nichols<\/a>\u00a0and Buck Henry successfully pleaded his case.<\/p>\n<figure id=\"img-3\" class=\"element element-image img--landscape  fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"e6f010e1c4e8952ceb40b1067dec5a4092887fcf\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=620&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=0d27073f58e20c99db4841e46646913a 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=620&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=89fff0ea785d325948bd006ceec7cf95 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=605&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=32347a6b3f5b574892ecbc2306d2aa60 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=605&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=1d64728a533d407257935a3a3325df91 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=445&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=2f1be5e21590b75902da1b57ce036a9c 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=445&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=e04c7843dbc542dd86a30389f020d171 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/e6f010e1c4e8952ceb40b1067dec5a4092887fcf\/0_199_2090_1254\/master\/2090.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=4c8ad675012f37084f49840e9bd11292\" alt=\"Tom Hulce in Amadeus, 1984.\" \/><\/picture><\/div>\n<div class=\"block-share block-share--article  hide-on-mobile \" data-link-name=\"block share\"><a class=\"rounded-icon block-share__item block-share__item--facebook js-blockshare-link\" href=\"https:\/\/www.facebook.com\/dialog\/share?app_id=180444840287&amp;href=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_fb%26page%3Dwith%3Aimg-3%23img-3&amp;picture=https%3A%2F%2Fmedia.guim.co.uk%2Fe6f010e1c4e8952ceb40b1067dec5a4092887fcf%2F0_199_2090_1254%2F2090.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social facebook\"><span class=\"u-h\">Facebook<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--twitter js-blockshare-link\" href=\"https:\/\/twitter.com\/intent\/tweet?text=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_tw%26page%3Dwith%3Aimg-3%23img-3\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social twitter\"><span class=\"u-h\">Twitter<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--pinterest js-blockshare-link\" href=\"http:\/\/www.pinterest.com\/pin\/create\/button\/?description=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3Fpage%3Dwith%3Aimg-3%23img-3&amp;media=https%3A%2F%2Fmedia.guim.co.uk%2Fe6f010e1c4e8952ceb40b1067dec5a4092887fcf%2F0_199_2090_1254%2F2090.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social pinterest\"><span class=\"u-h\">Pinterest<\/span><\/a><\/div><figcaption class=\"caption caption--img caption caption--img\"><span class=\"inline-triangle inline-icon \">\u00a0<\/span>Tom Hulce in Amadeus, 1984. Photograph: Ronald Grant Archive<\/figcaption><\/figure>\n<p>With this threat of expulsion hanging over him, Forman was approached by the producers\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2014\/jan\/05\/saul-zaentz\" data-link-name=\"in body link\">Saul Zaentz<\/a>\u00a0and\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/michael-douglas\" data-link-name=\"in body link\">Michael Douglas<\/a>\u00a0to direct\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2017\/apr\/11\/michael-douglas-and-louise-fletcher-how-we-made-one-flew-over-the-cuckoos-nest-interview\" data-link-name=\"in body link\">One Flew Over the Cuckoo\u2019s Nest<\/a>. \u201cOf course I said yes,\u201d Forman said. \u201cI loved the novel [<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/news\/2001\/nov\/12\/guardianobituaries.books\" data-link-name=\"in body link\">Ken Kesey<\/a>\u2019s counterculture classic] from the start and thought it would make a\u00a0wonderful movie. This showed me that it\u2019s much more comfortable to slip into a state of acute depression in America than back home.\u201d<\/p>\n<p>Skilfully shifting from gentle comedy to farce to tragedy, the film perfectly demonstrated Forman\u2019s special talent in dealing with conflicts between different sets of people, each of whom is well intentioned but who clash because their ideas and methods are at odds.<\/p>\n<p>After making this hymn to nonconformity, Forman seemed a logical choice to direct Hair (1979), the film version of the hit 1967 stage musical. But the age of Aquarius seemed long over, and its flower power paraphernalia had withered and died. Detached from the relevance, urgency and joyful liberation the original reflected, the film offered no more than vigorous dancing through the streets and parks of New York, some uninhibited playing by young performers and a touch of nostalgia for the over 25s.<\/p>\n<p>Much of Forman\u2019s special talent was submerged when tackling \u201cbig\u201d subjects in Ragtime (1981), an impressive but not altogether coherent survey of America at the beginning of the 20th century, based on the\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/books\/2015\/jul\/22\/el-doctorow\" data-link-name=\"in body link\">EL Doctorow<\/a>\u00a0bestseller. The film was a box-office failure.<\/p>\n<figure id=\"img-4\" class=\"element element-image img--landscape element--supporting  fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"146f62412419b8d6bb22e60d970b3a8c13613b01\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=380&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=15c050faf8719a68f59c6306a5148989 760w\" media=\"(min-width: 1300px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 1300px) and (min-resolution: 120dpi)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=380&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=a1f97fa59c3e67a9fe70005ab1b789e2 380w\" media=\"(min-width: 1300px)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=300&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=ff0f41f8330965b0570910b5ac53953f 600w\" media=\"(min-width: 980px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 980px) and (min-resolution: 120dpi)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=7ab9ef2547928bfb2079f58a9655feb9 300w\" media=\"(min-width: 980px)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=620&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=afe4471fbc6c3a34b80437bc3e5e0948 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=620&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=be371fd5fb61d5f46fb48fbf317fe6b9 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=605&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=1a2682a6325826fac50b3ac23987ab69 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=605&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=675c6ccec96c2e1842396feabcd0c389 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=445&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=c89461cf58ab3111cddcb65857f4161a 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=445&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=c03ebb7b5a56df8621178bca84fda0b1 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/146f62412419b8d6bb22e60d970b3a8c13613b01\/160_91_827_496\/master\/827.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=7ab9ef2547928bfb2079f58a9655feb9\" alt=\"Howard E Rollins Jr in Ragtime, 1981, based on the novel by EL Doctorow\" \/><\/picture><\/div>\n<div class=\"block-share block-share--article  hide-on-mobile \" data-link-name=\"block share\"><a class=\"rounded-icon block-share__item block-share__item--facebook js-blockshare-link\" href=\"https:\/\/www.facebook.com\/dialog\/share?app_id=180444840287&amp;href=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_fb%26page%3Dwith%3Aimg-4%23img-4&amp;picture=https%3A%2F%2Fmedia.guim.co.uk%2F146f62412419b8d6bb22e60d970b3a8c13613b01%2F160_91_827_496%2F827.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social facebook\"><span class=\"u-h\">Facebook<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--twitter js-blockshare-link\" href=\"https:\/\/twitter.com\/intent\/tweet?text=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_tw%26page%3Dwith%3Aimg-4%23img-4\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social twitter\"><span class=\"u-h\">Twitter<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--pinterest js-blockshare-link\" href=\"http:\/\/www.pinterest.com\/pin\/create\/button\/?description=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3Fpage%3Dwith%3Aimg-4%23img-4&amp;media=https%3A%2F%2Fmedia.guim.co.uk%2F146f62412419b8d6bb22e60d970b3a8c13613b01%2F160_91_827_496%2F827.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social pinterest\"><span class=\"u-h\">Pinterest<\/span><\/a><\/div><figcaption class=\"caption caption--img caption caption--img\"><span class=\"inline-triangle inline-icon \">\u00a0<\/span>Howard E Rollins Jr in Ragtime, 1981, based on the novel by EL Doctorow<\/figcaption><\/figure>\n<p>Forman bounced back with Amadeus. Having seen\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/stage\/2016\/jun\/06\/sir-peter-shaffer-obituary\" data-link-name=\"in body link\">Peter Shaffer<\/a>\u2019s 1979 play about the rivalry between Mozart, a musical genius but childish buffoon, and Antonio Salieri, the far less talented court composer, at its first London premiere, Forman informed the playwright, through their mutual agent, that he wanted to film it.<\/p>\n<p>While sticking very close to the original, the film became a sumptuous spectacle powered by Mozart\u2019s music, and enabled lavish and authentic recreations of the operas. It also had an uninhibited, giggling performance from Tom Hulce in the title role, and F Murray Abraham as the dignified but malevolent Salieri. Amadeus even bettered Forman\u2019s earlier Oscar haul by winning best picture, best actor (Abraham), best director, best screenplay adaptation, best art direction, best sound, best costume and best makeup.<\/p>\n<p>Remaining in the 18th century, Forman embarked on a screen adaptation of\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/stage\/2005\/jul\/16\/theatre.dance\" data-link-name=\"in body link\">Les Liaisons Dangereuses<\/a>, only to discover that\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/stephen-frears\" data-link-name=\"in body link\">Stephen Frears<\/a>\u00a0was doing the same thing. \u201cWe were in the middle of our script already when they announced their version, based on the play,\u201d Forman recalled. \u201cOf course we immediately learned they were rushing into it very fast. With the concept I had, we all knew I couldn\u2019t be faster. We couldn\u2019t beat them. So, I was expecting a call from the producers saying, \u2018Sorry, Milo\u0161, we can\u2019t take the risk.\u2019 The call came. They asked me, \u2018Does it really bother you that another film is going to be made?\u2019 I said of course not. And I felt like, God, Hollywood is still crazy. That\u2019s good.\u201d<\/p>\n<figure id=\"img-5\" class=\"element element-image img--landscape  fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"45818928eadbbea47134c95bfa942ce1dd691dca\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=620&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=7f499a8cfa02995151f903166b7614fb 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=620&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=357207dd74e050ce138914c86c93314d 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=605&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=8343a114363585c7c767bd5f1a37836b 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=605&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=e755bbfcf40ff94474d3afe583c44a04 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=445&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=4eca82506c88dca9a9cee28ed0e0125c 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=445&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=40f3df85905c005f5b4b208e90b49562 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/45818928eadbbea47134c95bfa942ce1dd691dca\/0_75_1842_1105\/master\/1842.jpg?w=300&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=5fc1c555187582b0cbe96b3b3034747f\" alt=\"Meg Tilly as Madame de Tourvel in Valmont, 1989.\" \/><\/picture><\/div>\n<div class=\"block-share block-share--article  hide-on-mobile \" data-link-name=\"block share\"><a class=\"rounded-icon block-share__item block-share__item--facebook js-blockshare-link\" href=\"https:\/\/www.facebook.com\/dialog\/share?app_id=180444840287&amp;href=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_fb%26page%3Dwith%3Aimg-5%23img-5&amp;picture=https%3A%2F%2Fmedia.guim.co.uk%2F45818928eadbbea47134c95bfa942ce1dd691dca%2F0_75_1842_1105%2F1842.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social facebook\"><span class=\"u-h\">Facebook<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--twitter js-blockshare-link\" href=\"https:\/\/twitter.com\/intent\/tweet?text=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3FCMP%3Dshare_btn_tw%26page%3Dwith%3Aimg-5%23img-5\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social twitter\"><span class=\"u-h\">Twitter<\/span><\/a><a class=\"rounded-icon block-share__item block-share__item--pinterest js-blockshare-link\" href=\"http:\/\/www.pinterest.com\/pin\/create\/button\/?description=Milo%C5%A1%20Forman%20obituary&amp;url=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2018%2Fapr%2F15%2Fmilos-forman-obituary%3Fpage%3Dwith%3Aimg-5%23img-5&amp;media=https%3A%2F%2Fmedia.guim.co.uk%2F45818928eadbbea47134c95bfa942ce1dd691dca%2F0_75_1842_1105%2F1842.jpg\" target=\"_blank\" rel=\"noopener\" data-link-name=\"social pinterest\"><span class=\"u-h\">Pinterest<\/span><\/a><\/div><figcaption class=\"caption caption--img caption caption--img\"><span class=\"inline-triangle inline-icon \">\u00a0<\/span>Meg Tilly as Madame de Tourvel in Valmont, 1989. Photograph: Allstar<\/figcaption><\/figure>\n<p>Although, at the time, Forman\u2019s Valmont (1989) suffered from unfavourable comparisons with Frears\u2019 Dangerous Liaisons (1988), his film (less faithful to Choderlos de Laclos\u2019 epistolatory novel), with a much younger, less known cast, was more interested in the seduction itself than the art of seduction, and is the more heartfelt.<\/p>\n<p>Forman\u2019s The People vs Larry Flynt (1996) sits with One Flew Over the Cuckoo\u2019s Nest, Amadeus and the later Man on the Moon (1999) in being about inspired misfits. This told of America\u2019s most notorious and successful pornographer who ran a series of strip clubs and the raunchy Hustler magazine. What concerned Forman most was the notion that freedom of speech encompasses the right to offend and must apply to unpopular beliefs.\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2000\/may\/05\/3\" data-link-name=\"in body link\">Man on the Moon<\/a>\u00a0was about the comedian Andy Kaufman (played by\u00a0<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/jimcarrey\" data-link-name=\"in body link\">Jim Carrey<\/a>), who was first lauded and then dumped by the TV networks.<\/p>\n<p>It was seven years before Forman directed another feature, during which time he carried out his duties as professor of film at Columbia University, New York, and tried to get various projects off the ground.<\/p>\n<p><a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/film\/2007\/may\/04\/javierbardem.drama\" data-link-name=\"in body link\">Goya\u2019s Ghosts<\/a>\u00a0(2006), about the Spanish inquisition, had some topical parallels with religious intolerance, fanaticism, torture, occupation and war, with the cast speaking English in a range of different accents.<\/p>\n<p>Forman, who became an American citizen in 1975, was twice divorced. He is survived by his third wife, Martina Zbo\u0159ilov\u00e1, whom he married in 1999, and their twin sons, James and Andrew, and by twin sons, Petr and Matej, from his second marriage, to V\u011bra\u00a0K\u0155esadlov\u00e1.<\/p>\n<p><span class=\"bullet\">\u2022<\/span>\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/milos-forman\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Milo\u0161 Forman<\/a>\u00a0(Jan Tom\u00e1\u0161 Forman), film director, born 18 February 1932; died 13 April 2018<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Guardian \u00a0 When Milo\u0161 Forman, who has died aged 86, travelled to Prague to shoot the film\u00a0Amadeus\u00a0in 1984, it was the first time he had set foot in his homeland for 16 years. He [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9344,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,90,854,88,10],"tags":[893],"class_list":["post-9342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-and-literature","category-editor-selection","category-film-review","category-slider","category-world","tag-milos-forman","country-world"],"acf":[],"_links":{"self":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/9342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/comments?post=9342"}],"version-history":[{"count":2,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/9342\/revisions"}],"predecessor-version":[{"id":9346,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/9342\/revisions\/9346"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/media\/9344"}],"wp:attachment":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/media?parent=9342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/categories?post=9342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/tags?post=9342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}