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About Schmidt (2002) New Line
Cinema, 2 hrs. 4 mins.
Starring:
Jack Nicholson, Kathy Bates, Hope Davis, Dermot Mulroney, June Squibb, Len
Cariou, Howard Hesseman, Chris Huse
Directed by:
Alexander Payne |
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Jack Nicholson has played many
animated cads in his heyday. He’s also taken on the role of tragic,
washed-up figures looking to make a mark in an otherwise dreary existence.
In writer-director Alexander Payne’s robust and quirky character study
About Schmidt, we witness another impeccable turn by Nicholson that
suggests his willingness to embrace the broken-down “elder statesman”
prototype. As newly retiree Warren Schmidt, Nicholson delightfully looses
himself in the vulnerability of his bewildered alter ego—he’s a lost
dinosaur that sports a noticeable receding hairline, has a tired-looking
face that can pass as a Triple-A road map and hosts a tattered body that’s
reminiscent of an Idaho potato. Nicholson bravely plays a man who’s in a
gradual meltdown. As an insightful filmmaker, Payne (Citizen Ruth,
Election) instinctively knows how to tap into the slow drawn angst of his
protagonists while making it a worthwhile adventure to endure along the
way.
Incidentally, About Schmidt is based loosely on the novel by Louis Begley.
With Payne’s sharp direction and Nicholson’s joyful and distinctive
performance, the film resonates as a form of self-discovery that’s so
compellingly telling. Interestingly enough, Payne’s jubilant narrative is
engaging both as a celebration of one man’s career-oriented
accomplishments and as a stinging reminder that the final journey is near.
About Schmidt is a tricky balancing act in the arenas of triumph and
tragedy. The film is astutely observant pertaining to life’s unknown
expectations and our ability to cope with the circumstances that soon
follow. Hence, we sympathize with Schmidt’s rocky path that would
eventually enlighten his tortured soul. In essence, Payne is exceptional
at presenting this individual’s complicated crossroads and making us a
party to his blossoming epiphany.
Nebraska native Warren Schmidt has come to the end of his rope. The
66-year old insurance salesman welcomes his retirement with obvious
trepidation. The rat race has finally come to a screeching halt. Schmidt
has practically lost his identity, his sense of self-importance and
relevance. Unassuming in his anguished frame of mind, Schmidt elects to
attend a steakhouse party where soon-to-be former co-workers pay their
homage to the departing Woodmen Insurance employee. Accompanied by his
supporting wife Helen (June Squibb), Schmidt is mildly receptive to the
praises that are pointed his way. But also evident is his indifference to
the so-called “happy” occasion. The guests, associates and friends alike,
applaud Schmidt’s lengthy service in the “insurance game” and genuinely
feel a common respect for the haggard pro that is reluctantly prepared to
move on. But it’s a given that Warren Schmidt welcomes the oblivious
feelings concerning his new found freedom and soon takes off to the
restaurant’s bar while seeking solace in a symbolic drink of quiet
despair.
Poor Warren. It’s not long after his realization of starting over after
countless years of employment that Helen dies. Understandably, the
desperate and devastated guy has no way of getting into his own groove.
Schmidt is an aimless animal with no specific purpose. Helen’s passing has
made him even more numb and confusing. Without her or his reliable “other
love”—the insurance game—Schmidt has drifted off course in search of a
worthy substitute that’s willing to relieve his inner pain.
Looking to curve the relentless boredom and loneliness that lurks about,
Schmidt decides to rectify this problem by undertaking a couple of
soul-searching tasks. First, he decides to travel west in his Winnebago
with the anticipation of attending his grown daughter Jeannie’s (Hope
Davis) wedding. There’s a definite method behind his madness in embarking
on this trip. Schmidt doesn’t want to see Jeannie saddle herself with a
doltish waterbed salesman named Randall (Dermot Mulroney). Secondly, as a
good-natured diversion, Schmidt decides to sponsor a Tanzanian orphan
named Ngudu. He writes to Ngudu religiously while elaborating on the
plight of his revealing field trip while using the unfortunate third world
youngster as a therapeutic pen pal. Now one should ask the following: why
would this destitute kid care about Schmidt’s long-winded essays regarding
his self-serving odyssey? Shouldn’t Schmidt provide more support by
sending food and clothing in lieu of forwarding garrulous letters? Let’s
face it, the man is clueless!
One thing leads to another as Schmidt begins to uncover the outrageousness
that suddenly has bombarded his ruffled life. His good friend Ray (Len
Cariou) who clumsily roasted Schmidt at his retirement party turned out to
be a backstabbing weasel that carried out a brief affair with his late
wife Helen. Of course this sends Schmidt further down in his depressive
dungeon as if he doesn’t have enough to worry about with his isolation and
potential lunkhead of a future son-in-law. Then, en route to “saving”
Jeannie from making a regrettable decision to tie the knot with the
doofus, Schmidt runs into Randall’s family. In particular, he clashes with
matriarch Roberta (Kathy Bates), a dippy-hippy relic whose mindset is
stuck in the hazy ‘60s. Roberta is wildly eccentric and spontaneous. She
is blatantly suggestive and her lusty demeanor can be perceived as both
flaky and refreshingly liberating. Roberta, in Warren’s estimation, is a
bona fide whackjob. This legitimizes the reasoning behind stopping his
precious Jeannie from marrying into this nutty family.
However, in sizing up Roberta’s oddness as compared to Schmidt’s peculiar
predicament of emotional confinement, we cleverly see how her injection of
lunacy is quite resourceful. Despite Roberta’s carefree nature, she has
the capacity to be confident and comfortable with herself which is
something that actually serves as an inspirational and motivational
opening for Schmidt to escape his suffocating rut. Through Roberta’s
non-judgmental stance and gregarious frivolity, she can care less what
people think of her. Hence, she’s living life as she sees fit whereas her
son’s future father-in-law is uptight and restrictive. Very shrewdly, it
is inferred that maybe Schmidt is the true blue oddball in this sense.
About Schmidt is solidly a wry, smart and intuitive showcase that
highlights the alienation factor to near perfection. After three major
motion pictures, Payne has proven time and time again that he is a crafty
social satirist whose finger is constantly on the pulse regarding his
comical and caustic commentaries. In Citizen Ruth, he hilariously stroked
the flames of moral integrity involving the abortion issue. For Election,
Payne smugly used the tool of adolescent over-achievement as an explosive
device for sordid opportunity and manipulation. Now in About Schmidt,
Payne tackles the maturity process and all its related properties of
turmoil and uncertainty.
Payne’s pliable screenplay, along with co-writer Jim Taylor, does amazing
wonders in fortifying this film with a dynamic energy and edginess that is
involving and exceedingly heartfelt. There’s no doubt that Nicholson has
given a memorable performance once again that hopefully will garner him
some Oscar consideration. Equally impressive is Bates’ fabulous turn as
the portly ex-hippie throwback who lets everything hangout both physically
and mentally. What could have been a humiliating and cartoonish stint in
what Bates brings to the makeup of the rambunctious Roberta evolves into a
completely honest and durable characterization. How many self-conscious
actresses over age forty would even dare to expose their less-than-perfect
saggy bodies on screen by climbing into a hot tube in seductive fashion?
Well, Bates does it with humility as she shows some respect to her
cockeyed but self-assured character. If there’s any justice, another
coveted Oscar should accompany her 11 year-old Misery trophy at home.
About Schmidt is an unconventional road movie that searches and ultimately
finds its satirical significance. Payne’s bleak comedy ushers in a raucous
sentiment that rings true on so many levels.
This is a rewarding and riveting presentation that deserves the attention
of serious moviegoers who fancy off-kilter, well-acted fare.
Consequently, Payne, Nicholson, Bates and the whole supporting gang are
truly infectious in this entertaining and thought-provoking gem. |
