Mi vida es mi vida

Karen Black is great in this film and well-deserving of The Best Supporting Actress Oscar. She steals the film from her moody and brooding co-star, Jack Nicholson. Put it this way: subtract Black from the film and you don't have a film worth watching. The story would have been better if the film had told us why Nicholson rejected his family and his musical gifts. Why does he hate everyone that loves him? He doesn't love himself. Why? Why should we sympathize with this man? He has a great girlfriend, a rich family that cares for him, and tremendous natural gifts to play the piano. The last scene in the movie is one of the most pathetic scenes ever filmed. Someone needs to slap Jack and tell him to wake up!! Please!!!

This movie is most famous for a scene in which Jack Nicholson tells a waitress to hold the chicken salad between her knees so he can get some plain wheat toast, but, in a movie as good as this, that very famous scene may be its least memorable one. After that scene, I hadn't heard anything about what this film was really about, and its depth and power took me completely by surprise. It's a story of a man trapped in his own life, unable to find a place to settle. All the locations at which he has arrived have lead to nothing but disappointment and the realization that there just might not be a life for him. God, how I can sympathize. Just as I was starting to question whether Nicholson was as good an actor as everybody seems to think he is, I've come upon his very best performance. Karen Black plays his girlfriend, a hick who loves him to death. He's not sure if she's good enough for him, or vice versa. Lois Smith, Ralph Waite, and Susan Anspach give good supporting performances. A flat-out masterpiece.

This incredible movie would have to be one of Jack Nicholson and the totally underrated Karen Black's finest hours (and a half!). This would probably be my favourite movie of all time and though you might find it initially depressing you too will find many instances of black humour with repeated viewings. Everybody and their dog always raves about the chicken salad sandwich diner scene and the dialogue between the main character and his invalid father but for my money the money shot is when Bobby first tells Rayette he has to visit his family ALONE and as he tries to leave without her (which wouldve ended up being the most humane thing he does in the film!!) he finds his car wont start at the crucial moment and he completely loses it in his car cursing a lotta four letter words under his breath. I wont go into the details of what this film is about but its thoroughly entertaining and works on many levels. Fans of this sort of drama should check out WHEN YOU COMIN BACK, RED RYDER as well for superb character breakdowns also. If you thought the main character in Michael Leigh's NAKED was a miserable lost soul on a road to nowhere you aint seen nothing yet til you check out Jack in this!! A complete masterpiece from beginning to end. Great soundtrack with Tammy Wynette by the way and Karen Black shows off her awesome vocal style as well......

This film is a classic because it operates and works on every level imaginable, a truly evocative film. Other posters have elucidated upon and discussed the musicology of it, and the significance of Chopin. I'll take their word for it, and not go there. That's out of my league. And, as others have noted, the film is an exploration and study of character, which it certainly is. All that and more. I see the film as being in its own way a period piece unto itself, the period being films made in the late 60s and early 70s. It is quintessentially representative of what was an important movie circa 1970. Of course the storyline of an alienated young man (Jack Nicholson as Robert Dupea), walking away from all that is expected of him, and indeed walking away --if not running away-- from his prodigious gifts, and doing it all with a cocky attitude, no longer resonates quite the way it did in 1970. But, if you weren't around in 1970, trust me, it resonated well then. It was a theme that seemed important and meaningful at the time, even though the character's motivations for his actions are never really explained and remain something of a blank slate for the viewer to fill in. In 1970, when the concept of an "identity crises" was big, it worked to just suggest and imply that Dupea felt the need to Quixotically search out and determine for himself what was important for him. That dovetailed with another important component in many movies of that era --you never explain yourself, because if you explain things, you trivialize it all and ruin it. Or, as Jenny, Ali McGraw's character in Love Story (also a 1970 film) put it, "Love means never having to say you're sorry."

Meanwhile, unfolding alongside the Dupea character, was Karen Black's tour de force performance as the big-haired clingy-dependent waitress girlfriend, Rayette, and doing it to a medley of apropos Tammy Wynette tunes. Karen Black's performance perfectly captured and spot-on nailed an almost ubiquitous sort of woman prevalent in that era, when the social changes wrought by the women's movement had not yet taken fruit.

As for the notorious diner scene, this one scene essentially dominates the whole movie. It is something that people who have seen the movie will bring up and talk about, even decades later. Yet the scene is in no way pivotal or important to the story. At most it once and for all permanently affixes in the viewers' minds that Dupea was an impulsively flippant and angry person, not one to meekly abide any of life's minor frustrations. But we were already getting that picture of him before this scene happens. And, courtesy of Dupea, the scene provides a snippet of gratuitous social commentary about inflexibility and the stupidity of mindless adherence to meaningless rules. Something for the viewers to cheer and say, "I can relate to that!" Those things aside, to me the real value of the scene was that it provided an entertaining contrast in a bleak drama, a needed change of pace. But regardless of whether it was a statement about Dupea's attitude, or a social comment about stupid rules, or a needed amusing interlude, no matter which of those it is, its lasting impression renders its importance out of proportion to the movie as a whole. Surely, as he made this film, director Bob Rafelson's never intended that 35 years later this particular scene be the main thing viewers took away and remembered about the film. In this sense, as entertaining as it is, the scene therefore must be viewed as being a bit of a story-telling flaw. In retrospect, it should have been toned down just a skosh. But, then, on the other hand, were it not for this scene, perhaps the film would hardly be remembered at all. It is already a largely overlooked masterpiece.

This movie pops up on the movie channels on a semi-regular basis, and when it does I always stop and am riveted. The cinematography is superb. The acting is superb. Nicholson turning in one of the performances from that era that made him the unhinged star in the first place, long before he became a parody of himself. But be warned, it is not a "happy" film. It is the product of an era that did not as a rule produce happy films. But it is nevertheless a film that must be seen.

Previously known only for creating 'The Monkees', Bob Rafelson produced an underrated masterpiece when he made 'Five Easy Pieces', a film that deserves to be a lot better known. Jack Nicholson, typically intense but atypically understated, has possibly his finest hour as Bobby Duprea, a self-hating misogynist ill at ease with himself and the world. Many people will, when thinking of Nicholson, bring to mind his pantomime pyschopath Johnny from 'The Shining'; but Bobby, a profoundly human creation, is actually far more scary. Elsewhere the film features characteristically gorgeous cinematography from Laszlo Kovaks; a soundtrack that skilfully offsets Tammy Wynette and Chopin; excellent writing throughout and some very black humour. Like a less extreme version of Mike Leigh's 'Naked', and bristling with uncomfortable truth, 'Five Easy Pieces' is a true classic of 1970s cinema. Few films today are as good.