The chapters covering Who’s Afraid of Virginia Woolf? and The Graduate, two of Nichols’s greatest movies and indeed two of the greatest American movies of all time, are among the most engrossing. (Each chapter could have been turned into a book of its own.) Despite both films having been made six decades ago, with many of the key participants now dead, the narratives have a compelling you-are-there quality, as Harris chronicles the tricky business of directing Elizabeth Taylor and Richard Burton in Woolf and in The Graduate describes a scene where Dustin Hoffman, secretly encouraged by Nichols, unexpectedly puts his hand on Anne Bancroft’s breast while Bancroft “without breaking character for second, glances at his hand, barely curious” and cooly examines a spot on the sweater she has just taken off.
The burden of Mike Nichols: A Life is that it has to retain its readers’ attention to such a degree that they can resist the urge to put the book down for a few hours and watch a Nichols film. Throughout Mike Nichols: A Life, I had to constantly fight the desire to stream Carnal Knowledge, Silkwood, Working Girl, and Primary Colors, to name just a few, until Harris’s skilled storytelling pulled me back in. But, finally, when I turned the last page, I opened my laptop, signed on to my Amazon Prime account, and began rewatching The Graduate. Sheer bliss.
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