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for his instinctive yet cerebral approach to film, but the American From the choice of the look with the director Tim Burton to the
fallen angel, raw, whose brazen smile poking through a door de- improvised and iconic bird dance, every facet makes Batman an
stroyed with an axe was simply the yearned-for catharsis made expanding universe, the coveted mooring for an actor who has
of violence, death, pain, and flight from that same pain. The au- made his work into one long session of psychoanalysis, becoming
dience was seeing something new, as the 1980s got started. The a highly paid icon in the process.
frenzy of a glossy decade was welcomed by Nicholson with open In an age in which anything from the past gets cannibalized,
arms: fun as an end in itself, to avoid thinking about how things Nicholson’s pop character has not emerged unscathed from the NOTHING ELSE
fall apart, the ongoing use of drugs since the 1960s, the turbulent battles with the culture industry. Yet into his eighties, and in re-
relationship with Anjelica Huston. His image—so ancient yet so tirement since 2010, his smile remains like dark heat, the far from
fresh at the same time—made him seem like a bare wire, a gigan- reassuring response to five decades of history that share only the
tic and unique wound to gaze at from a proper distance. He was crossed dismay of generations that stupidly follow in one another’s
the perfect choice to bring the character of the Joker into film for footsteps. A smile that is a dangerous story, an adventure without a
the first time. His qualities as an anti-social actor allowed him, in happy ending to experience vicariously, a loose cannon from which
the words of Lou Reed, to “create a vibe without saying anything.” the world refuses to let Jack Nicholson escape, and to let us forget.

As Good as It Gets, 1997, directed by James L. Brooks with Jack Nicholson Bridgeman Images

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